Speaker 1: Hello everybody, welcome to ChinFat. In this episode we're going to be showing you guys how to start editing inside your timeline once an assembly edit has been made. So in a previous episode we did do an assembly edit, and in the previous episode I showed you how to use the trim tool, how to use a ripple tool, and how to use the roll tools. And now we're going to start trimming and cleaning things up and getting the timing just right inside of our timeline. So we're watching this movie here that we've done with our assembly edit. We have kind of this wide pan from the window, and this kind of slow dolly push in to this person sitting in her bed here. And then she rolls over to look at her clocks. Right there she rolled over, and then I noticed a little mistake here, a little continuity mistake. Watch this. She rolls over, and then here she is still on her side and rolls over and looks at this thing again. So one thing I noticed here is looking at the pacing of the shot, this is kind of a longer shot, then we have a couple quick shots, and then another longer shot. So maybe the pacing might be a little bit too, might be a little off for how long these first shots last here. So I want to maybe extend this shot here. First of all I want to match them, and then I want to perform a little edit where we spend a little bit more time on this shot right here. So let's get them matched, and we're going to use the ripple tool to do that. So I can move my mouse over here, and I can hold my mouse over this tool right here, click on it and hold it down, and it extends this menu, and I've got the ripple edit tool right there. Or I can just hit the letter B on my keyboard as a shortcut. And now my selection tool is turned into the ripple tool. I'm going to arrow down to land on the edit here. And first of all I'm going to go to this clip, and I'm going to kind of find a matching point with this out point, and then a good matching point with this in point. So let's do this ripple edit here. I'm going to grab this clip and start dragging, and it brings up both frames up there. The left frame being my new out point, and the right frame being my in point, which does not change because I'm using the ripple tool. So what I'm going to do here is I'm going to, I'm going to move this clip to the left because she's already rolled over, so where she hasn't rolled over yet. So right where her face starts to roll over is where I'm going to stop it. That's going to be my matching point where her face rolls over. So I'll move this right there, it just barely starts to move. Let's get it where her face is pointing straight up. Right there. I'm going to stop there, and I'm going to use that as a matching point. I'm going to do the same thing on this clip right here, because right here she's still rolled over onto her side, so I'm going to get this ripple edit going to the in point, and I'm going to get this on the same frame where she, where her face is about right there kind of looking straight up. So let's play through that. Her face is up, so right here her face is up, halfway over, and then right there it's halfway over. All right, so we've got that kind of on a matching point now, but I'm going to use a roll tool. I don't want it to edit to happen there. I want this clip to be a little bit longer. So what I could do is I'm going to grab my roll tool, and the roll tool is under this menu here, but it's the letter N, so I can just hit the letter N, N as in Nancy, I guess, and I'm going to move this by mouse over the middle of these two clips, and now the roll tool will edit these two points, in points and out points, simultaneously. What the ripple tool was doing was shrinking one in point or out point while leaving the adjacent clips alone, and now I'm going to grab my roll tool, and I'm going to drag it and say I want my clip to start before she even starts to roll maybe, like over here, like right about there. So the timing on that should still match up. Now she's facing toward the wall here, it cuts to the other side, now she turns over, and I even maybe want to make that last a little bit longer, so I can roll edit this backwards, and it is, and look what it's doing up here, you've got your, it's moving both clips in points and out point, it is moving this clip's edit, it's changing both the out point of the left-hand clip and the in point on the right-hand clip, and so you can see both of the frames moving there and decide where you want the edit to land, and I'm going to take it back, because I want even a little bit more time spent on where she's on this side of the bed, so let's give that a try. And I like that edit right there, she looks at the clock, cut to the close-up of the clock, it changes to 12.07, and then cut back to her kind of sinking back down in the pillow there. And I like this edit here, as it plays through, we move in on the dolly, it cuts to her in the bed, she rolls over and looks at the clock, clock changes to 12.07, and this one I'm feeling is a little bit too long, so let me show you a little trick here, rather than just using the ripple or roll edit tool, there is kind of a quick fix right here. So right there it changes to 12.07, and right here, I'm going to get it right on the frame when it changes, I'm going to hit arrows left and right and get it right there, let's say I want it to dwell on it, maybe like one second. I'm going to type on my numpad, I'm going to hit minus one zero zero, that will jump back one second and zero zero frames. Hit enter, and right there, now we dwell on the clock for one second before it changes, I want to cut this off and eliminate the stuff to the left there. So what you could do, this is the long way of doing it, you can hit your razor blade, over here, move over, click right on that playhead there, it'll cut it to that frame, I'm going to go over and grab my arrow, select that, select this, hit delete, and there's a gap there, so I'm going to select the gap and hit delete. Now I just cut out that excess timing, let's see how that looks. I like the timing on that a lot more, it doesn't need to dwell on the clock for so long. But now I'm going to undo that and show you a quick way of doing that, that was like the multiple step way of doing it to show you what's happening here, I'm going to undo undo undo. Alright, so once again, right when it changes to 12.07, I'm going to go, right there is the exact frame, arrow to the right, that's the frame, I'm going to go negative one, zero zero, you can even put negative, you can even go negative one and period, period is a placeholder for two zeros. So you hit enter, and it jumps back one second, I want to kill everything to the left of this, and then I also want to fill the gap, it does this all in one move if you do Q and W, Q does it to the left, W does it to the right, and what it's called, it says it ripple edits stuff to the left to your playhead, and if you do W, it ripple edits everything to the right of your playhead. So let's hit Q, and one move, it eliminated that footage, and it also filled the gap, all in one move just by hitting Q. So play, I like that, and let's say we want to do the same thing here, see right here, this dwells on her face for quite a long time, and then she kind of sighs, and let's say I just want, like, maybe a couple frames right before she does that mouth reaction right there. So her mouth's hanging open there, I'm going to arrow to the left until her mouth is shut, right about there, and I'm going to eliminate everything else to the left, so once again, that is Q. Q, just killed that, and now she reacts immediately, and that's better. So the pacing on that is a lot better, now keep in mind that if you want to eliminate stuff to the right, that's going to be W, and Q and W are right next to each other on the keyboard. Let's play to where she turns on the light here, turns on the light, and it stays on her for a long time, and she even starts to sit up and it's a mismatch to this other side, so what we could do is do a W here to the right, to clean to the right. She turns on the light, boom, that's enough right there, I just, like, stopped on the fly there, and that feels good right there, so I'm going to hit W, and now it cleans everything to the right. So as we play through, turns on the light, cut to the other side, pan up to the door, and that works pretty well, though, I like the pacing on that. Then the door creaks open, and then it cuts to this reverse signal there, and I want that dolly shot to move immediately, so once again, I can do one of two things, so I'm going to play through this, and then it starts moving, so I'm going to get it, like, right about there where her eyes are open, and I'm going to eliminate the rest of the left here, Q to delete it, let's see how that looks, door opens, and I like the pacing on that, and maybe I want to trim a little bit off to the right, like the door opens, and maybe step right about there, just even a couple frames, just to shorten that, so I'm going to hit W and kill those frames right there. Alright, so that's how you use your ripple and roll to match, so yeah, if you want to make a shot longer or shorter, if you use your ripple tool, which is B for your ripple tool, or you can go over here and choose it on your toolbar, you can grab this clip's end point, and you can drag it to the left to extend it to make it longer, or you can drag it to the right to make it shorter. So let's do one more thing here. Say we forgot a shot in here, so we cut from her to this monster thing walking in in the cloak, walking up to the doorway here, and then it turns and looks at her, and that's just dwelling on that shot for a long time, I kind of want to see maybe a reaction shot. As that thing walks into the doorway, maybe in the middle of it we want to see a reaction shot, so I'm going to play through this and decide where I want to do that reaction shot. The thing walks in, and maybe right there, before it turns, right when it starts walking in, we want a quick little reaction shot, and then we cut back to this thing turning. So let's try an insert. I'm going to teach you the difference between an insert and an overwrite. So I want this little pickup shot here, this 1A pickup, take two, that has just kind of a slow dolly push as she's sitting there watching, right there. So let's say I want this after she blinks, so I'm going to give that a little blink, to an in point, and play. There she's breathing, out point, and I want to insert this in point and out point between these two. You do have these options right here, insert, and overwrite, onto the timeline. And if you do overwrite, now these shortcuts are going to basically be comma, or what they call left arrow bracket for insert, and the right arrow bracket, or period, for overwrite. So if I do an overwrite, watch what happens, I'm going to hit period to drop that in, and look what it does, it just eats into this clip here, eats up some of the time, and that might actually kind of work, because for the time for her to react, it will allow this creature to kind of walk in a little further. So the timing might actually work. Let's look through this, and then we'll try an insert. So play through it, so it's walking in, cuts to her reaction, kind of freaking out here, and frozen, and it cuts back as this thing like turns toward her, and actually that worked pretty well. I like the timing on that. Let's do undo though, command Z or control Z, and I'm going to try an insert instead. So let's do an insert, and insert will cut it, and look at this, it shoved this down, rather than overwrite the timing on this, it basically cut it and shoved it down, so it extended the timing. So the continuity probably won't work there that well. So let's play through this. And then he's in the same spot that he was when we left this clip right here. So what I could even do as well, because sometimes what you want to do, let's go back to the overwrite here, if we do an overwrite here, and we play through, we may wish to have a little bit more of this kind of pre-roll before he turns and looks at her. So what we could do here is we could actually just do a roll edit. So we did the overwrite, and it ate all that time, that time gap between here and here, so we could actually just use a roll edit now, and extend this just a little bit. I'm going to grab this, the edge of this, and drag it to the left to extend it before he turns. There we go. And it pushes it out, so now that thing's been extended. And let's watch through the clip. Okay, and I like that, but maybe the timing does need to be trimmed down a little bit. So those are some of the tools you have at your disposal for trimming things in your timeline, matching things in your timeline. You've got your ripple and roll tool. You also have your Q and W shortcuts. You have your insert and overwrite, and you also have your arrow tool over here, which is your selection tool and trim tool to do your fine-tune editing within your timeline. Well, that's it for this tutorial. In the next one, I'm going to introduce you guys to what is called the trim tool, and it's a specialty tool which helps kind of perform all these features, but puts it in a little bit better, in this really nice visual interface, which we'll show in the next episode.