Do a something search Lightworks Video Editing: Advanced Trimming Techniques If you followed the basic timeline editing tutorial , you should now have a very rough assemblage of clips on your Lightworks timeline. This also makes sense if you are following the general editing rule to only cut when new information is presented. Not to mention hard cuts between each line of dialogue is rather disorienting, predictable, and frankly quite boring. Unless the film stylistically calls for an editing approach that celebrates the involvement of an editor, the goal is to be as invisible as possible.
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Do a something search Lightworks Video Editing: Advanced Trimming Techniques If you followed the basic timeline editing tutorial , you should now have a very rough assemblage of clips on your Lightworks timeline. This also makes sense if you are following the general editing rule to only cut when new information is presented. Not to mention hard cuts between each line of dialogue is rather disorienting, predictable, and frankly quite boring.
Unless the film stylistically calls for an editing approach that celebrates the involvement of an editor, the goal is to be as invisible as possible. Two very powerful techniques are J and L cuts. With a J-cut, we hear the sound from a clip before we see it.
An L-cut is just the opposite; we see a clip before we hear the audio. This slight overlapping of video and audio helps our brain cope with the edit.
We hear the audio and subconsciously prepare ourselves for the cut. Alternatively, we see the new character and prepare for the speaker to change. Not only does this make our editing more transparent, it allows us to reveal the reactions of our characters to the conversation. Position the playhead on the cut that you want to adjust remember that you can use the A and S keys to snap the playhead to cut points.
Now tap the U key. See how the clips seem to fold into the cut? But wait! We only wanted to move the video cut, not the audio cut. Lightworks will try to apply whatever trim command you give it to any active layers, so if we only want to move the video cut, we need to first disable the audio track.
Press Tab to rejoin the edit and disable trim mode, then turn off the audio track by clicking on the label to the left of the timeline. With the audio track disabled, press U again. The video monitor will expand to show you the last frame of the clip to the left and the first frame of the clip to the right.
To make precise adjustments, you can use the comma and period keys to move the cut one frame at a time, and the M and forward slash keys to move ten frames at a time.
When you are satisfied with the cut, press the Tab key to rejoin the footage. When I edit dialogue, I tend to error on the side of cutting it too fast. Nobody is that quick on the draw. For my tastes, the L-cut we just made takes a little too long for ID to respond.
If we had trimmed the clip before we did the L-cut, we could have simply set in and out points, then cut the dead space out of the timeline. With the video and audio tracks enabled, place the playhead on the video cut and press the W key. As you can see from the fold, Lightworks has unjoined the footage to the right of the cut. Try playing the video forward a few frames to tighten up the edit, then press Tab to commit the change. Sometimes we need a moment of silence to drive home a dramatic or comedic point.
We can even fake a long pause by extending the end of one clip and the beginning of the next clip as much as possible. This tells Lightwork to unjoin the end of the previous clip.
Play forward a bit to add some frames to the end of the clip. Join the edit and use the W key to add frames to the beginning of the next clip. Because we are artificially increasing this pause, we have pulled in unwanted audio. We could disable the video track, set an in and out point on the audio timeline, then lift the unwanted clip, but lets use this opportunity to learn a new trick. Holding the control key, click and drag the edge of the clip over to replace the audio with blank space.
The trim icon will change depending on where you hover, giving you a pretty good indication of how it is going to affect your clips. All of the keyboard shortcuts for trimming are located between the letters Q and U. I often forget the shortcuts, even though the layout is fairly logical.
From left to right, Q unjoins the the end of the previous clip, W unjoins the beginning of the current clip, E unjoins the end of the current clip, and R unjoins the beginning of the next clip. We already covered moving a cut with the U key, so that only leaves T and Y. T performs a slide edit by unjoining the end of the previous clip and the beginning of the next clip.
A slide edit lets you move an entire clip through your timeline, adjusting the length of the clips on either side of it to compensate. The Y key initiates a slip edit by unjoining the beginning and end of the current clip. Slip edits allow you to change the in and out point of a clip without modifying its length. The edges of the window are your in and out points. A slip edit rolls the film by, changing what appears within the window but not the size or position of the window.
That may have been equally confusing, if so please disregard. With these trimming tools, you are well prepared to finish a fine cut of your edit. Match actions: The easiest way to time this properly is to line up the edit on the end of the action, then roll the cut backward several frames.
Watch the eyes: If you are trying to cut away from a character, look for movement in her eyes. If she turns to look at something, cut away as soon as she has locked eyes with her target. Even cutting on subtle eye movements can make your film less jarring. Know when to hold a shot: Sometimes we learn more about a character by watching how he reacts to his partner.
Be ruthless: Trim, trim, trim. The tighter edit is, the better it flows. Can you trim a few frames here? One frame there? Every single frame counts. Never be afraid to cut bits that you love if it improves the overall project. Most importantly, have fun! I do it all the time. Defeating dragons, exploring the depths of the ocean, and advising robots about dating are just a few of the many adventures in Daisy’s Web Development Diary.
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As in take a long cut, split it to insert another cut? First case would be that you have the clip in the timeline, park the play head where you. Mar 21, Now that you know how to set up a Lightworks project and have mastered The timeline is where you will cut in footage from your source monitors. A replace edit overwrites whatever was in your timeline with the clip from. Jun 3, See how the clips seem to fold into the cut? That’s Lightworks subtly telling you that it is going to add footage to the left side and take it away.
Lightworks 14 review: Free video editing software lacks proper Mac decorum
Confidential, and Moulin Rouge. Originally tied to expensive, proprietary console hardware, Lightworks has adapted to the economic realities of modern editors, so much so that the core application can now be downloaded for free. The Pro version allows exporting in up to 4K resolution using any compatible file format, stereoscopic 3D output, and timeline rendering. Bookwalter By switching to the VFX or Audio tabs, editors can spice up their videos using fast, intuitive tools and real-time effects.
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Do a something search Lightworks Video Editing: While there is a general process to editing, there are no hard and fast rules.
REVIEW: Lightworks Video Editing: Basic Timeline Edits • Dototot
I am pretty new to lightworks so this will probably be a stupid question How do I cut or trim a singular clip, like I trim an added image but when. Do you mean splitting a clip on the timeline? Move the playhead to the point where you want to split them and press C for Cut. This will split the. Jun 3, See how the clips seem to fold into the cut? That’s Lightworks subtly telling you that it is going to add footage to the left side and take it away.