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# Lightworks Tutorial for Beginners: First Cut and Export
- URL: https://lightworksguide.net/learn/first-video/
- Published: 2026-09-29T14:51:27.000Z
- Updated: 2026-10-19T09:23:16.000Z
- Description: Make one short video from start to finish: import three clips, choose their useful sections, build the timeline, balance sound and check the exported file.
- Author: Lucas Bennett
- Tags: learn

Make one short video all the way through before exploring effects. For this first Lightworks edit, you will import three clips, choose useful sections, join them into a sequence, adjust a cut, balance the original sound, and inspect a local exported file. The checkpoints show you what each action changes, so you can correct a mistake before the next step.

This walkthrough uses the workflow in the current [Lightworks Quick Start guide](https://lwks.com/lightworks-knowledge-base/quick-start-create-your-first-edit?ref=lightworksguide.net) and its related documentation. It describes the fixed workspace and default keys. Installed builds and custom layouts can have different labels, so check each name against your own screen rather than assuming it matches the documentation.

## Prepare a small edit you can finish

Choose three replaceable clips with sound, preferably with the same frame rate. Keep your originals in a separate backup before importing. You need Lightworks already available, enough space for copied media and the output file, and a place to save that output. Installation, unusual codecs, and complex mixed-rate projects are separate jobs; if a practice file will not import or play correctly, use the [media import checks](https://lightworksguide.net/editing/import-media/) first.

**Practice example:** imagine three shots of making coffee: **A\_Cup**, a cup on the table; **B\_Pour**, coffee being poured; and **C\_Finish**, the finished cup. Plan to use roughly three, four, and three seconds respectively. Those lengths add up to an exercise of about ten seconds; they are planning figures for your own practice rather than timings from an edit made for this guide. Use whatever footage you have; the sequence of actions matters more than the subject.

## Create the project and import the clips

1. In the Project Browser, click **Create Project**, enter a name such as **First\_Coffee\_Edit**, and click **Create**.
2. Open the **Import panel** with **F1**, **Ctrl+I** on Windows/Linux or **Cmd+I** on macOS, then browse to your practice folder. The [current import guide](https://lwks.com/lightworks-knowledge-base/importing-media?ref=lightworksguide.net) also describes the Import button and right-click Import route.
3. Select the three files and inspect the import method before clicking **Import**.

Choose **Create Link To Media** when the files already live on editing storage that will stay connected. It references their current location. Choose **Copy Media To Project** for a camera card, USB stick, or another location that will disappear: it creates working copies in project media storage. The [import guide explains why a linked clip goes offline if its file moves or its drive disconnects](https://lwks.com/lightworks-knowledge-base/importing-media?ref=lightworksguide.net). Copying takes time and disk space, so let it finish before removing the source drive. If the files come from a camera card, protect a separate copy of its full folder structure first. Verify the imported copies play before reformatting that card.

![Three coffee practice clips listed in Import with the media method visible](https://storage.ghost.io/c/b6/14/b614b785-090f-41ec-b456-227b43270d07/content/images/2026/10/first-video-body1-redo-v3.webp)

Check Link or Copy before Import; keep the working media available and a separate original backup.

Import and autosave solve different problems. Import makes clips available to the project; Lightworks's continuous saving preserves edit decisions. Neither is a substitute for a separate backup of camera originals. If linked footage later disappears, start with the [media offline checks](https://lightworksguide.net/fix/media-offline/), rather than rebuilding the edit.

**Checkpoint:** the imported clips appear in the Content Manager. Double-click A\_Cup and play it. Confirm that the source has usable picture and sound before assembling the sequence.

## Know whether you are looking at a source or the sequence

A **source** is the single clip you opened. A **sequence** is the assembled edit on the timeline. Playing a source is a review action; it does not add that clip to the sequence.

The [documented viewer headers use blue for source and red for sequence](https://lwks.com/lightworks-knowledge-base/viewers-and-playback?ref=lightworksguide.net). In a stacked layout those two jobs share one viewer area; a dual-viewer layout puts them side by side. For this exercise, use Edit, or choose an Edit Dual Viewer layout if that makes the distinction clearer. The [Layout Chooser opens from the chevron beside the active layout name](https://lwks.com/lightworks-knowledge-base/layouts-and-workspaces?ref=lightworksguide.net). Choose a built-in layout there instead of resetting your workspace.

Watch both positions: the source playhead chooses the end of the material you want, while the sequence playhead chooses where it will land. Moving one does not mean you have moved the other.

## Mark A\_Cup and insert the first shot

1. Double-click A\_Cup in the Content Manager and confirm that you are working in the source viewer.
2. Play or scrub to the beginning of the useful action. Press **I** to mark its start.
3. Move the source playhead to the intended end—roughly three seconds later in the practice example—and stop there. Without a separate Out point, this is **mark and park**. You can use **O** for an explicit Out point instead. The [Quick Start lists these default marking keys](https://lwks.com/lightworks-knowledge-base/quick-start-create-your-first-edit?ref=lightworksguide.net); custom keyboard assignments can change them.
4. Check the source video and audio tracks that should participate, and the destination tracks in the sequence. The **Track Target** buttons use V1/A1-style labels. In the sequence, no lit targets is the default, with all unlocked tracks included; clicking a target narrows the destination setup. Include all the source audio you want. Monitor and mute change the output, not the destination of an edit.
5. With the initial empty sequence ready, click **Insert** to place the marked source section in it.

The [basic editing guide describes source and sequence track targeting](https://lwks.com/lightworks-knowledge-base/basic-editing?ref=lightworksguide.net). Insert adds material at the sequence playhead and pushes later material along. It is different from Replace, which overwrites at that position without lengthening the sequence.

**Checkpoint:** A\_Cup now occupies a segment on the sequence timeline, with its included audio below the picture. The current Quick Start says the sequence playhead advances to the end of that insertion. Look for that destination position before the next shot. If you only see the source playing and no segment appears on the timeline, the edit has not reached the sequence. Check the source range, destination playhead, and enabled tracks. A locked destination track cannot receive the edit.

![A marked A_Cup source section is inserted, leaving the sequence playhead at its new end](https://storage.ghost.io/c/b6/14/b614b785-090f-41ec-b456-227b43270d07/content/images/2026/10/first-video-body2-redo-v2.webp)

Mark the Source section, Insert it, then check the sequence playhead before adding the next shot.

The first clip in a new Auto sequence establishes a compatible output format. The [sequence guide explains that first-clip behaviour](https://lwks.com/lightworks-knowledge-base/sequences-and-timelines?ref=lightworksguide.net), so begin this exercise with a clip that matches the frame rate you intend to deliver.

## Add B\_Pour and C\_Finish, then review the cut

Open B\_Pour as a new source, mark its useful start, and park at its end. Check that the *sequence* playhead is at the end of A\_Cup, then Insert. Repeat for C\_Finish at the end of B\_Pour. In the practice example, the timeline should read A\_Cup → B\_Pour → C\_Finish, with approximately three, four, and three seconds of selected material. If a shot appears before the previous one, check the destination playhead instead of importing the file again.

Move to the beginning of the sequence and put the pointer over the timeline. Press **Space** to play the sequence—the [Quick Start specifically distinguishes timeline playback](https://lwks.com/lightworks-knowledge-base/quick-start-create-your-first-edit?ref=lightworksguide.net) from reviewing a source. Check the order, joins, sound, and ending. Unwanted black between shots or a long empty tail is a timeline problem to resolve before export, not a reason to change the output codec.

If the practice B\_Pour shot leaves a pause before the action, shorten that pause at its join with A\_Cup:

1. Turn **Sync** on in the timeline toolbar's Trim group. A one-sided trim then ripples later material and closes up the edit. Keep **Clip Link** on in the toolbar's Behaviours group so linked picture and sound trim together. The [timeline tools guide locates these controls](https://lwks.com/lightworks-knowledge-base/timeline-tools-and-commands?ref=lightworksguide.net).
2. Check the amber **Track Sync** strips beside the track targets to see which other tracks will move. Locked tracks and tracks left out by Alt-narrowed sync stay behind. If another participating track has no black to absorb the change, it can give up media at the trim point; the [current troubleshooting guide warns about this content loss](https://lwks.com/lightworks-knowledge-base/troubleshooting-common-problems?ref=lightworksguide.net). In the three-shot exercise, look over the included picture and sound tracks before you trim.
3. Move the pointer close to the beginning of B\_Pour at the join until the trim cursor appears. Aim at B\_Pour's start if that is the pause you intend to shorten, rather than A\_Cup's end. Click and hold, drag to adjust the edge, then release to finish that drag trim.
4. Replay across the join. Check that the pause is shorter, no gap remains, and picture still agrees with sound. Inspect any sync indicators before continuing.

You can extend a shot only within the footage that exists; trimming cannot create missing action. If the change is wrong, use **Ctrl+Z** on Windows/Linux or **Cmd+Z** on macOS to undo. The [cut and trim guide](https://lightworksguide.net/editing/cut-trim/) covers the different trim subjects and ripple behaviour.

Keep straight cuts for this first delivery. A dissolve needs unused frames on both sides of the join, which adds another condition before you have checked the basic edit. Once the three shots play in the right order, continue with sound.

## Balance the sequence audio

Click the **Audio** layout tab. If it is not among your active tabs, use the Layout Chooser beside the current layout name and choose Audio. The [mixer documentation places the full audio mixer in that layout](https://lwks.com/lightworks-knowledge-base/the-audio-mixer?ref=lightworksguide.net).

Check what the mixer is controlling before touching a fader. The documented mixer can follow whichever source or sequence has focus, so open its settings menu and set the **Audio Mixer** option to **Sequence** for this exercise before playing the sequence from the timeline. That way you balance the assembled edit instead of accidentally changing the source clip you last reviewed.

![Track 1 level control and LR master affect different parts of the Sequence mix](https://storage.ghost.io/c/b6/14/b614b785-090f-41ec-b456-227b43270d07/content/images/2026/10/first-video-body3-redo-v2.webp)

Balance the individual track first, then check the LR master. A track fader changes every shot on that track.

A mixer fader changes the level of its whole track. If A\_Cup, B\_Pour, and C\_Finish share that track, moving the fader changes all three. To bring one louder shot closer to its neighbours, adjust that segment's level on the timeline first:

1. On the relevant audio track, turn on **Keyframes** in its track header. A level line appears over the audio.
2. For a segment with a flat level line and no intermediate nodes, click its start level node, then **Ctrl/Cmd+click** its end node to add it to the selection. Check that only those two nodes are selected. Drag them vertically together: down for a quieter shot, up for a louder one. Keep their times unchanged so the line stays flat. The [audio timeline guide documents editable segment endpoints and moving selected nodes together](https://lwks.com/lightworks-knowledge-base/editing-audio-in-the-timeline?ref=lightworksguide.net).
3. Play through both joins and listen again. Check each audio channel you included; do not assume adjusting one channel corrected a stereo pair. For this practice edit, aim for consistent sound without introducing a fade or an automation lesson.

Now set the overall track balance in the mixer. Where the documented automation mode controls are available, use **Off** for this first adjustment rather than Write, Touch, or Latch. Drag a track fader to set that track's contribution to the mix. Solo can help identify which track carries a sound, but restore temporary solo and mute states before reviewing the complete edit.

The **LR** master represents the combined output. Balance individual tracks first, then set the overall level while watching LR; LWKS advises [keeping the master out of the red](https://lwks.com/lightworks-knowledge-base/the-audio-mixer?ref=lightworksguide.net). Listen across both joins for sudden level jumps. This first exercise can use the sound already in your footage—adding music, recording a voiceover, and writing automation are useful later tasks.

## Export the whole sequence to a local file

Return to the completed sequence and make sure it is loaded on the timeline. Open the timeline's side menu using its toggle, then choose **Export**; the [timeline tools guide lists Export in that menu](https://lwks.com/lightworks-knowledge-base/timeline-tools-and-commands?ref=lightworksguide.net). Use the full panel for this first delivery so you can inspect what will be rendered.

1. **Check the export source.** The current documentation describes a Source List that can contain sequences, clips, or subclips. Note the actual name of the finished sequence on the timeline and find that same name in the Source List; the project name First\_Coffee\_Edit can differ from it. A single A\_Cup source clip would export that item, not your three-shot edit.
2. **Check the range.** Choose the whole item for this exercise, rather than a marked section. A marked range is useful for a later preview, but it can omit the beginning or ending of your first delivery.
3. **Choose an offered target and resolution.** MP4 is the documented default for general delivery. Use the format and resolution your active licence actually offers; do not assume every Free installation has the same target list. Check the selected preset's settings rather than trusting its name.
4. **Check the media and destination.** Keep the originals online. Use a clear local name, such as First\_Coffee\_Edit\_v1.mp4, and a folder you can find afterwards. Do not reuse the name of a source file.
5. **Start the export and wait for completion.** The Quick Start names the control **Start**. If Start opens a save dialog, choose your recorded folder and filename there. Export runs in the background, so a closed panel does not mean the file is finished.

![Coffee_cut matches the sequence named in Export Source, covering all three coffee shots](https://storage.ghost.io/c/b6/14/b614b785-090f-41ec-b456-227b43270d07/content/images/2026/10/first-video-body4-redo-v2.webp)

Match the Source entry to the sequence name and check the whole edit before starting export.

The [Export overview explains source selection, ranges, presets, and licence-dependent formats](https://lwks.com/lightworks-knowledge-base/export-overview?ref=lightworksguide.net). A right-click preset can be configured to auto-start; that is why the full panel is a better first check than an unfamiliar one-click preset. The proxy guide also warns that [offline originals can make export fall back to available media](https://lwks.com/lightworks-knowledge-base/proxies-and-performance-media?ref=lightworksguide.net). For this first master, reconnect originals before delivery.

For progress, open project settings from the settings icon beside the project name, then go to **Tasks**. The [Tasks page reports running jobs and its Tasks Log records completed work](https://lwks.com/lightworks-knowledge-base/batch-export-and-background-tasks?ref=lightworksguide.net). If the export reports an error, keep that message and resolve the indicated problem before treating a partial file as finished. The [full export workflow](https://lightworksguide.net/export/settings/) covers further delivery choices.

## Check the file you will share

When the task is complete, open the destination folder you selected, find First\_Coffee\_Edit\_v1.mp4—or the name you chose—and open that file in another video player. Does it start with A\_Cup, pass through B\_Pour, and finish with C\_Finish? Is the duration close to the sequence you just reviewed, including any trim you kept? Listen at the beginning, both joins, and the end. Only this playback of the saved file confirms what you are about to share.

If the file contains only one shot or the wrong section, return to the export source and range. If the timeline itself is silent, use the [timeline audio checks](https://lightworksguide.net/fix/no-audio/) before re-exporting. If the local file matches the intended sequence, you have completed the first editing loop. Keep the project and original media together for your next change; the exported movie does not replace the editable project.