Internal Edits with Ripple Delete

Now, if there was a fluff and you needed to edit it out, so let’s just for the purpose of saying I discovered a fluff in the middle of this one, I’m just going to drag it open, what I would normally do is I drag it open a bit larger so I can get a bit more control over it. And supposing when you see where I’ve got the red peaks there, supposing that was a mistake, and I wanted to edit that out. What I would do is I position it at the at the outwards where I want to stop speaking, comfortable cutting points, comfortable cutting point, good words, right? And on ScreenFlow, what I would do is I’d mark and in points there, you see that and then what I would do is then play it through to where I want to pick it up. Okay. terms of, excuse me in terms of visual stuff. So supposing I want to take those two horrible, kind of coffee snarly things out, suppose a Nazi outpoint Okay. This is the end of the bit I want to take out, I hit an O or you can also mark an out points there. And then what You can do is what’s called a Ripple Delete. And what Ripple Delete will do is it’ll take basically, it’ll take that bit in blue out, it’ll delete it, and move the other bit of the track up to up to the previous bit. So if I do that Ripple Delete right now, you see how it’s taken out that her horribles coffee sound. And what I’m going to do now is just play through the half that comfortable cutting point, that’s basically the rule. And that’s okay, just see how that works. And so basically, it took the the horrible cough sound. Now, if you want to be a bit snazzy, what you can do is you can actually drank these two, these two bits over vary slightly like this. And that will create a fade. So if I just play this now, just watch this, it’ll create a cross dissolve, which kind of covers the jump cut of me a bit cautious in order to have that comfortable cutting. That’s basically the rule. So just see how that worked. I just kind of, I just kind of, you know, did a cross dissolve there. So so you know, the, so I’m sort of a jump cut between my head because isn’t quite so isn’t quite so jarring. Yeah, if you do that technique, make sure that you’re not cross fading the the audio too much, you have to be careful with it and not not have too much of a crossfade. So actually, I would probably, in this case, minimize that I probably have it something like that. Just a very slight one. Just play that. Now I’m having to wait, you see, that’s a classic example where you have to wait for it to render now in order to preview it properly. So I’ll just give it a couple of seconds there. 13% 15% 18% 20% 26% my god, it’s taking a while isn’t it? And this is on a reasonably fast drive by the way. So this is why you’ve got to have decent external drives. 43% 45% Chugga chugga chugga chugga 50% off he goes. 60% This is why we want to have simplicity and editing by the way there because every time we do these effects and these clever things it takes time to render the files. Yeah, it’s gonna slow us down. Okay, there we go. Now I’m gonna play it now and it should work a bit better with a half that comfortable cutting point. That’s basically the rule. And that that Yeah, okay. I mean, you do you do see the jump cut, but there’s a little bit of crossfade there helps a little bit comfortable cutting point. That’s basically the rule. Yeah. But my suggestion to you is by and large, I mean, just live with jump cuts. Yeah, I mean, honestly, the students are not going to be that bothered by a jump cut. Yeah. If it really disturbs you, you can use it, you can use a cross dissolve. But frankly, more often than not, a jump cut is going to be totally fine. Yeah. This has to do with the educational experience not to do with Film Editing. You know, we’re not making a film, a comfortable cutting point. That’s basically the rule. You say. That’s totally, totally accepted. Go okay.