Hey there, in this video we're going to look at something called Match Frame, and then Reverse Match Frame. Let's work out what Match Frame is first.
So Match Frame is really useful for, especially when you've got a really long interview, and you've kind of cut it up into lots of little pieces, you're like, “Where's this bit in the big long video?” So just put your CTI, your Playhead, just above the clip, wherever you want it to be, you can be very precise, but just jam it in there somewhere, and tap the 'F' key, boom. What it does is it jumps back to that original footage, there it is here, and it's showing me the snippet, and if I zoom out of this, you can see, it's part of a really long interview, can you see, and that's just a tiny little bit. If I find another piece of it that I've cut up, this bit here, just type 'F' key, you don't have to select it, but it will jump to that snippet there. So I can kind of work out where all these bits have come from.
One thing to note that it is to do with your track targeting, say this column here, if I say-- I've got it hovered here now, I'm going to find this, if I use this somewhere, type the 'F' key, you notice it's not grabbing this, is grabbing the track that's underneath, it's because of this. I'm going to turn that off, turn that one there, Now if I hit 'F', it's going to find that track. So I'm going to turn it back. So that is Match Frame, super useful.
Where it gets kind of weird, and you might already know Match Frame, a lot of people do. Let's do it another way, like let's do this one, and let's double click this. It does the same thing, it opened up here, and you're like, what's the difference between F key, which is Match Frame, and just double clicking some of the clips?
Well, the difference really is, is that this is not showing me my original clip here in the Source monitor, it's showing me the instance that I've chopped it up, so watch what happens, when I say up here, if I zoom out, and I just start adjusting, I'm like, I don't want this bit anymore, I want this bit, and I want this, maybe just here, can you see, it's adjusting that clip, that's the difference. If I double click it and open it, I'm kind of opening this instance of it, and I can edit it. It's generally not what you want.
My advice is, don't double click stuff, saving project, please hold, that took longer than normal. Screen recorders is pretty stressful on your machine. I'm going to undo that. So instead of double clicking just use the F key. F key means that I can go in here, I can still see where the original edit is, it kind of tells me, but I can zoom in now and I can say, actually, I don't want that anymore, I want this bit over here, over here, and this bit over here. You see, it's not editing that original. Anyway, that confused me for a little while. Don't double click, do editing on the Timeline, and just use the 'F' key.
Little thing to note, it's not what you got selected as well, sometimes I think, oh yeah, select that, hit 'F', it's not, it's wherever the Playhead is. So doesn't matter what you've got selected. The other thing to consider is that, say you don't want to find it up here, you want to actually just find it in this big mess of a bin that you've got, no folder structure, you live life on the edge, you're a renegade rogue editor, and it just all piles up in there. You're like, "Where is this thing?" You can right click it, have to select it this time, right click it and say, show me, in the 'Reveal in Project', there it is there, and it'll open up, well, not open up, it'll just highlight it, then you can double click it in the source. You're kind of back to where you were before, but at least it shows you in here, because often you end up with things in the wrong bins, let's say. I'm not judging,
The next one we'll thrown in at the end here is the Reverse Match Frame, this is not very good, I'll be honest. There's a better way which I'll show you in the next video, but you might have a really good use case for it. Let's say that it's great, well, I can see why it would be great-- this doesn't work, for say something like B-roll, say you're in here and you're like, uh, where's-- might be wrong. There's something, so open this up, I'm like, "Oh yeah, this is good, man." Have I used it? Hmm. That is my big question for B-roll, like I'm-- I abuse B-roll a bit, I'm like, I use them for other projects, there's a lot of like my world, there's a lot of, like person typing on computer, person reaching over, short or pointing, you're like, "Did I use it for this project?" I'm not sure.
So you get the kind of CTI where you think you might have done a cut, and you hit 'Shift R', and if it doesn't work, you haven't used it, unless here, 'Shift R', I did use it, there it is there on my Timeline. So Shift R is-- that's the annoying part of it. You have to have the Timeline where you think the B-roll is. It's good when it's clear but this one's got a couple, of different parts I might have used. There's that bit, you tied it a couple of times, oh, there's a zoom.
So you have to have-- you could be submitting, forever going 'Shift R', 'Shift R', 'Shift R', oh, found it, like that's-- so that's why I don't like Reverse Match Frame. It could be useful for what you're doing, so there you go, you know.
Let's jump into the next video, where I'll find you a better way of doing that, like, have I used this B-roll in the Timeline somewhere. I'll show you how in a sec. Actually, before I go, I feel like I've slammed Reverse Match Frame, but Match Frame, you are good. Remember, anyway you want, 'F' key, takes you right there. Anyway, let's jump into the next video.