Original subtitles

Hi, I'm

Mary, and I'm going to show you audio track layer editing and working with audio

track layers in the Fairlight page of DaVinci Resolve 17.

Let's get started.

So in this project, you're going to see on this lower track

we have three different takes of a voiceover recording

and we need to edit these to create the best comp or composition

of the best takes.

Write the parts or the words that we want to use.

We can edit those together and then place them where they belong in

the timeline and we'll do all of that editing within the layers of one track.

Now before we get started on this,

I don't really need all of these other elements here.

I don't need the dialog tracks at least while I'm doing my editing.

So we're going to streamline the interface.

One of the first things I want to do is just hide this text.

As you can see up here in my viewer, I can still see

the text prompt that I was using for the original recording,

so I can just select that piece of text right there and press D to disable it.

As you can see, the text is now gone in my viewer.

And then I also want to hide the video tracks all together.

I don't really need to see

the video tracks for this, so I'll come up to my timeline

view options and just d select video tracks.

And then I'm also going to hide the parts of the interface that I don't need

any time.

You don't need a particular panel showing.

If you hide, that then gives you more real estate to do the work

you're doing at that time. And so I'm going to hide.

Both my mixer and my meters don't need to see any of those.

And the last thing I'd like to do is just hide these extra tracks.

So I'm going to go ahead and do that now by just going up to the index.

And over in the index, you can see I already have two tracks that are hidden.

I'm going to hide the drone track as well as the dialog.

And as you can see, any time you're in the tracks index,

all you have to do is click on one of these icons.

It looks like an AI, that is your visibility

and that will also hide the associated track in the timeline.

So I'm going to go ahead and hide that.

So the only one that's left visible will be the voiceover.

As you can see, that's the only one I can see at this moment.

Now, keep in mind, hiding tracks does not actually mute them from playback.

So if I don't want to hear the other tracks while I'm working,

I can either solo the track I'm working on or go ahead and mute the others.

And in this case I think I'll mute them.

So I'm just going to go ahead and mute those.

I can actually swipe that mute

right across there.

So all of these tracks are muted.

The only one that will be playing back now is my scratch voiceover,

which is perfect, and I'll go ahead and close up that index.

So now I'm going to zoom in.

I'd like to kind of place my play

head over the middle of these clips and zoom in horizontally.

I can use the option key and my middle mouse wheel to do that.

So you can see I can zoom in that way.

I can also hold down the option are all key

and use minus in equals to do that zooming as well.

Also, I'm going to zoom vertically and I can do that with my

my three button mouse by holding the shift key

and then I can zoom vertically around whatever the selected track.

Or in this case, it's the only track in the timeline.

So now I have a nice view of my

different waveforms that I'm working with and the different takes.

And now I want to show my audio track layers, which is a view,

a different way of viewing your timeline.

Switch under the View menu.

I'll just go to view all the way down to the bottom of that

menu, show audio track layers, and then we have it.

And so what that's showing me as you can see,

is all of the layers within that one track.

Right now I have only one track showing all of those different layers

are different takes in my recording within the same track

and the way I can create a comp with this or a composite or my best takes

is to go through and cut up the different takes

and then I can shuffle them around and determine which one is the best part

of that particular performance

or of the phrasing or whatever it is that I want to actually use

when it comes to audio track layers, you will only hear the uppermost tracks.

So for example, if my play head is here, I'm only going to hear the orange clip.

My play head is over here.

I'm only going to hear this apricot clip at that moment because it's on top.

And what's great about this is you can move them around at any time,

even during playback.

So, for example, I could just pull this straight up

and move that orange clip above the others.

I can also move the yellow one up.

And as you can see, I can move these very easily.

Now, if I've got them aligned just right, exactly

where I want them kind of stacking them up based on what was said.

If I want to move it up or down but not change its position

horizontally, I just want to move it vertically, then I can hold that shift key

and then it's going to drag, it's going to constrain it.

So we'll only move up and down and it won't slip side to side,

which is great if I happen to have these all sink together.

So I'm going to pull this back up.

And like I said, if I hold shift, I won't be able to drag it left to right.

Notice that as I pull one layer over top of the other, you can actually see

it becomes transparent and you can actually see the wave forms,

which is really helpful

because that allows you to really do precision alignment as well.

And so what I'm going to do is I'll just show

you I'll move back to the beginning here.

And if I were to play this

email, I can actually switch them

during playback, as you can see, and listen to different takes as I go.

I cannot explain this discrepancy if I wanted to, or I can wait

and cut them up and then check them later if I wanted to.

Now my first goal is I want to break these up because they are the same.

They're saying the same words.

And so I just want to align them by phrases and then cut them.

And so what I'll do is I'm going to come over to the beginning

and one of the things I need to know is I want to kind of line up

that first phrase.

So I'm just going to grab this orange

clip and notice that you can see where the waveforms align right there on the left.

It's pretty easy to see those.

Now, I could also turn off that outline, but I think the outline actually works

really well on those waveforms.

I could really align them

and it looks like that first phrase is aligned very nicely over here on the left.

So I'd like to split this right at that position and cut this off.

So I'll have one little stack of just the first phrase that was said,

which is a million and a million a Newton.

So if that's what I actually want first, then I align those.

I'm going to go and trim this left edge, kind of match those up a little bit.

And if I want to cut these or split this, I'm going to use the Razor tool,

which is up here at the top.

As you can see in our toolbar, you'll see the razor tool

and the shortcut is Command B as in Blade, same as what you have on the edit page.

So it's very easy to access that.

However, there's a couple of things I want you to pay attention to with

that is what does it actually going to cut?

If I press Command B with nothing selected, what's it going to cut?

What's going to follow the same convention of what

you can actually hear, which is the uppermost layer

and so if you look only the upper layer was cut

at that moment, which is great, except that's not exactly what I wanted.

Right now.

I want to cut them all to make stacks and even stacks of the different phrases

so then I can move them into position in the timeline.

So I'm going to undo that, move my play head back there, and instead I'm

going to press command a which will select all of the clips within that layer.

Now, if I was in a timeline and there were other tracks showing,

it would select all of the clips in the timeline.

But because the other tracks are hidden, none of those will be affected

by any kind of splitting that I'm doing here.

So that will be very effective.

As you can see, the red outline on the clip shows they've both been selected

and then if I want to cut that,

just Command B and I just split that right there, as you can see.

All right.

Now, I want to move the next group of clips and align them.

As you can see,

it looks like

I need to move the yellow clip down a little bit to align those better.

And one of the things I could do is manually drag it over or I can nudge it

using our nudge keys, which would be the comma and the period.

So I'm just going to press the period key.

And as you can see, I can just walk that clip down into position, hold shift.

While you do that, it's going to nudge by five frames at a time or whatever

you happen to set in your preferences for your multi-frame nudge.

As you can see, it looks like these are pretty well aligned at this point.

I might trim up this orange section just to kind of match their length,

and I'm going to just come down to that.

The space in between this phrase and I'll do the same thing, command A

to select all those clips under my play head command B

and that will blade or split that for me.

So that was pretty easy.

Now let's come down to this next group and I'd like to finish slicing these up.

And so one of the things I want to do is

I've also got this clip that's up here on the third layer.

And so I'm going to first trim that a little tighter,

and I'd like to align it a little better as well.

So I'm just going to grab that.

And just by moving it a little bit left and right, notice

I can align that pretty well.

Now I notice that my snapping is engaging, and any time

that you start to drag, it's going to try to align with other elements,

whether it's other clips or markers or things like that.

So this might be a good opportunity to turn off my snapping.

Snapping is located up here in the toolbar.

The shortcut is in like napping.

And what that will do is it

will turn off that magnetic property when you're trying to align things.

And that means I can freely align this exactly what I want it to go.

So I'm going to grab it and just align that and notice how

well I can make that phrase line up with the one below it.

And as you can see, those are in in good alignment.

And then I'm going to hold the shift key. Just put it back on top for now.

And I'm also going to move this yellow clip over a little bit more.

I'll just tap my nudge key a couple of times.

The period to align that up just a little bit more.

So now all of these

phrases are pretty close and I could go in there and split these.

Now I could just press A, select

A, command B, and I've just made that cut.

But for this middle section, I'm going to split the whole thing.

Instead of using two cuts with a blade, I'm going to actually use

my range selection to create a range and then just break it at the range

and I'll show you that right now.

Shortcut for the range tool is AR for range.

And once I have that range, I can just select.

In fact, I'll move my head out of the way.

I don't need that.

I'm just going to click and drag across here

and notice that I have selected all of those clips.

Now, if I drag into the lower track, it may or may not.

If there were a lower track,

it may not select that lower section to make sure you stay within your track.

If I notice, you see how everything highlights as you

select it within a range.

So I know that anything within those range boundaries is what will be affected.

When I split this and the other thing is any time you create a range

and you want to just finesse the edges of that or the duration of that range,

you can hold your shift key

and that will allow you to adjust the in point or out point by just grabbing it.

And so at this point, I want to tighten this up a little bit.

I'll hold the shift key and those that I can just grab the edge of that range

and I can modify that without necessarily clearing the other side.

So everything within this range.

Now I'd like to split and notice that if I come down

towards the bottom, my range, you'll see that I have this.

My tool looks like a hand.

And what I can do with that is it allows me to grab this range

and I'll just pull down on it just slightly.

And that split everything right there within that range

and then I can just release it and I've now split those clips.

I'm going to click anywhere off of that range to deselect it.

And as you can see, I now have all of my different pieces are all split up.

I could trim my clips with my range tool if I wanted to notice it.

If I go to trim something, it automatically pops to a higher layer

so I can see the entire clip in case I need to see more information.

Otherwise everything looks good.

I can use my range tool to split to trim, or I could go back to my arrow

tool, a four arrow, and I could trim clips that way.

And so now I have just split up all of those different takes

and I can actually put them in the timeline

and move them into position if I wanted to, while

they're still inside of these stacks.

Or I could also go in there and I could

go up to The View

and select show audio track layers

and I could move them around now without the layer showing.

Either way, I can work with these different takes.

And what's great about this is if I have different performances

and there are a few best performances and then within the same track as layers,

whichever one is underneath, we won't hear it.

It doesn't cost us any extra processing.

But just in case your director says, you know,

I think I like the other performance better, it will take you all of 2 seconds

to go into track layers and switch that up and put the other one back in its place.

You could do the same thing for sound effects or music or anything else.

If you have another selection that's equally good or you're not sure

about which one you're going to use, keep them both in the same track.

Hide one beneath the other one, and you'll still have easy access to

it if you ever need it.

So let's go ahead and I'm

going to go back to show my audio track layers again,

and I'm going to bring back the other tracks now.

So I'm going to go over to the index and let's go ahead and show the dialog track.

And the reason I want to show the dialog track

is because that's where you can see the space of what we're actually replacing

is those clips that were disabled right there in the timeline.

So we want to turn those off.

And then I'm also going to come over here and I don't need my drone track yet.

I think that's the only one I actually need.

We can bring the drones back if we want to.

It's doesn't affect what we're doing.

And there we go.

Now, when you notice that when you show your audio track layers,

you will see the layers for all your tracks.

If you notice that my top track here,

it's a mono track, so there are no other layers in there.

You only see just the one clip the drone track has is a stereo sound,

so you'll see both channels for that whenever the layers are showing.

And then of course,

when we're looking at the scratch voiceover

that we're working with the scratch VOICEOVER

You see all three layers right there within that track.

Now one of the things I'd like to do is move this up above the drone.

You know, notice how it's down here in the bottom section.

I'd really like to change its track position.

Well, I got a couple of choices. I could right click

and I could choose

move, track up, and it will move it up one at a time or down.

Or I could just come over here in my tracks index and I could grab that

track, scratch voiceover and just move it up where I want it

directly below the dialog, you know, so it can move that track position instantly.

Just like that.

I can hide my index.

And I also want to focus on the audio track layers, just that middle track.

Because that track is selected, it makes it easier for me

to zoom in on the clip.

Remember zooming horizontally right there

where the play head is, and I'm also going to zoom

vertically and that will look at whatever my selected track is.

And as you can see, there it is.

And what I was going to point out was if I wanted to select this,

the stack of clips right here and move them, if I as long as I click

and drag across them to get both pieces, I can move the entire stack.

If I only grab from the top,

I'm only moving the upper layer, I'm going to undo that.

So that's something you need

to be aware of, whether you're working in with the layers showing or hidden.

Anytime you have a stack of clips you can easily pull off the top on or grab

an entire stack of 20 clips, however many are in that layer at the same time.

So let's use look at that in action as we put these clips into position.

And so if you look at my timeline, I have a yellow marker at the top

that is representing where each of these pieces of audio goes.

Navigation between markers is very simple shift

and the down arrow to move down the timeline for marking

a marker or shift and the up arrow to move to the previous marker.

As you can see, I can go to that marker.

I can see that right there.

And all I can do is grab this stack.

I'll just drag across them and I can just snap that right into position

and we go and I'm there and I do have my snapping turned off.

So I'm moving very freely, but I'm just looking at I have an idea where it goes.

So I'm looking at the previous clip to know where this goes.

Now, instead of grabbing all of this

while I'm seeing my track layers, I'm actually going to hide those track layers.

So go to the View menu back down.

Let's just high those audio track layers and I can zoom in on

this section a little bit

and we can place these last clips

without having to see everything because they're all right here.

There's the markers for these.

And if I wanted to grab this, just remember,

if I drag the top, I'm only getting the top of the layers right.

I'm just going to undo that.

If I want to grab the entire stack, I grab from next to it, drag across it,

and now I have the entire stack

and I could just pop it into position really quickly.

And as you can see, it's very easy to move these into position

for my editing so I can place them wherever they need to go

just by moving them into position so it doesn't take any effort

to move those again, just drag the entire stack,

place it where it goes, grab the next step, place it where it goes.

And so on.

And so there should be one for each section.

There we go.

And it's that easy.

And so now I've put all of these clips where they belong.

Now, I haven't really auditioned them.

I haven't decided which take I like best,

but at least I have all of those stacks in the position.

So that is the layered audio editing as well as kind of placing them

where they go.

And then if I want to decide

which take I like the best, I could just come over here.

I'll just pick this one that has three takes.

I'll zoom in on that a little bit if I want to.

I could do a loop playback of a range

and if I want to make this really easy, I can also just mark an endpoint.

I for in and over out.

As you can see, I just marked a range that includes

the stack I'm working with, plus the dialog right before that.

If that's going to help me determine which take is

best, might make this track a little bit bigger.

If I want to audition my different takes and then I'll show my audio track layers

once again.

And so now I can do my playback.

Remember holding shift while I'm checking the different clips?

Will not move them out of position.

So I'll start with looped playback.

Make sure I turn on my loop playback up here at the top

and remember loop playback is up here in your transport controls.

Once that's turned on option and forward slash will start the loop playback.

I can't explain this discrepancy

now I have this other track muted.

I will unmute it so I can hear them both.

How's that possible?

I can't explain this discrepancy.

Ada. How's that possible?

I can't explain this discrepancy.

Ada How's that possible?

I cannot explain this discrepancy.

ADA How's that possible?

I cannot explain this discrepancy.

ADA How's that possible?

I can't explain this discrepancy.

ADA How's that possible?

I cannot.

Okay, so I think the best take is going to be

this one that's orange of those different takes.

And so that's how I just chose which one I wanted to use.

I'll leave the other ones there just in case.

And I can actually hide my audio track later.

So as you can see, it doesn't take a lot to be able to work with this.

It's just putting together a lot of the different things

that we've already learned.

And as you can see in no time at all,

you can not

only record your different takes, but you can then edit them into a comp

and then you can place them in the timeline

and you can decide if you want to keep all of them

or if you only want to keep the best takes or whatever that is.

So that's just editing with audio track layers.

Now I'm going to show you audio track layers with music

and we'll just use a couple of different techniques to kind of crossfade in between

different pieces of music.

So I'm just going to switch to a different timeline

and we go, Now this is a different scene.

Actually bring up my meters for this one so you can see the viewer for a moment.

And in this scene we have some mono clips in the top two tracks.

We have a stereo track with some sound effects.

We have a drone, which is a six channel, 5.1 surround.

And then we have the music, which is all in this lower track.

And so when I go to show audio track layers under the View menu,

you'll see that depending on how many channels

there are in the actual tracks, that's how many different

layers that you're going to see automatically,

all of those different layers.

So this one has six layers, four, six channels and the stereo have two.

So when we work with the music,

you're going to see two channels at all times, even when you're moving it around.

So what I'd like to do here is

look at the scene and in this case we need to select the right music.

And instead of one piece of music, this this scene actually calls for

maybe three different things happening within the storyline.

And so if I were just to do playback, I'm going to yeah,

I'll meet the music for the moment.

And if I just play a little bit of this, I'll start right about here.

This is where a million A wakes up in a space pod.

She's trying to figure out what's going on.

So there's that

little bit of mystery and action and what's happening kind of music.

But then she gets the bad news that Phillips

hurt and Phillips crying pods losing power.

He's probably going to die if they don't do something.

And so I'd like to change up to something with percussion in it

or whatever to give us like

a little bit of a heartbeat, some kind of a pulsing type sound there.

So that's what we're going to cut into next.

And then the third piece of music is where she's resolved

and decides, okay, I'm going to go risk my life and save Philip.

So we need to kind of those marching into battle sort of music, right?

We need the the ready for action music.

And so those with those are the three different pieces I have here.

But before that, let's just play this little section without the music.

So that you can see what's happening.

I'll just go to full screen mode

here where I'm like,

You are an orbit of planet q-46, five B.

Like I feel like.

Phillips Krypton has lost power.

His oxygen level.

Is critical,

but of.

Course, to get me next to him, this will significantly reduce your power resource.

You may not have enough to return to source.

Are you sure should do it.

Okay.

So right there where she's like positive, do it again.

That's a good spot to change up the music.

That's where she's ready to switch things up.

And so I've actually put a couple of

markers in the timeline to show us where we might want to change this music.

I'm going to go ahead and unmute the music track,

and then what I'll do is I'm going to squish

or we're going to condense all of the other tracks

and just take a good look at the music track for this.

And so what I'll do is I'll just grab that vertical slider and just scrunch

everything up towards the left so I make them as

as thin as possible.

And that way I can just stretch the slowest track, the music track down

that way. I still have a nice big track for that.

The other ones are out of the way.

I can still see them and now we can focus on the music.

So let's listen. We've got this.

This first bit of music starts

and this is from the actual soundtrack.

So this is all working for this introductory part.

Here where

you are in orbit of the planet.

q-46, five.

All right. So this is all good.

But then when she finds out about Phillip, I want to hit that percussion.

Now, if you look at this

second clip, this green clip, notice that it starts out with some strings.

I can tell just by looking at the waveform more of an orchestral bit.

This will sing also this.

So we just hear the music.

So I don't want any of the strings.

I just want to get to the part where we have percussion.

So what we'll do is we'll just trim this year quickly by describing the beginning.

Here's the percussion

here that that's going to work great with the other clip,

but I want to actually bleed it in.

We're just going to kind of do a nice long crossfade on that.

And so I want to trim the beginning of it.

Notice what happens when I go to trim this because we have our layers.

It allows me to see the entire waveform on both sides,

and I can just easily go in there and just tighten this up nicely.

And there.

Now I know I'm into the percussion section of that one.

The other clip doesn't need any trimming.

Okay?

And then what I'm going to do is I'm just going to move this over

and I'd like to put it on top of the first bit.

So we're just going to drag upward and move it over to that green marker.

And as you can see, so this way it'll start right where we need to.

And if I back up, it'll be a straight cut at the moment.

But as you can see, I just easily laid one clip on top of the other

on the

and solo that so you can actually hear with the dialog.

I feel like.

Philips Krypton has lost power his oxygen level is critical

so right as she's saying his oxygen levels are critical.

That's where we should be fading in this sound will be almost like a heartbeat

or something like that.

So I'm going to go ahead and just add a fade. Right now.

I can make it as long as I want to or short.

I'll go ahead, make a fairly long fade to bleed that in.

And so we should go then from one piece of music to the other.

Let's test it.

I feel like Philips Krypton has lost power.

His oxygen level is critical.

Here you go.

And so that's where we've just faded from one to the other.

Now, could we put these clips on different tracks?

Absolutely. In fact, I'm going to take this fade off.

I'm going to put this over here and let's actually line

these up one on top of the other, just so that you can see.

I could easily stick all of these clips on top of each other, move them as a stack.

Right.

Grab the entire stack, put it right here and test these.

Just as I was mentioning before we tested the video

with the different dialog takes, you can do the same thing with music.

And in fact, I use this technique all the time

when I'm sampling different temp music that I need to use with a scene,

something we're cutting together and I don't have the actual music yet.

I will use different temp pieces just for timing

and then you can always replace it later with the real sound.

And so just showing you how easily this will work as a stack, I've been

this way I can hear the different music bits, right?

I feel it.

That's this song and knows all I'm doing is dragging one

above the other.

So at any time, even during playback, I can test

drive my different music and decide which one I think is best.

Same thing.

You could do the same thing with sound effects and so on.

So I'm going to put these back in position,

just showing you how easily that works.

Even during playback.

I'll go and put this one back on top as we originally planned,

and then I'll set this one here.

And that way we can fade right from one to the other

on both sides.

And now we've got several pieces of music going at once.

Now what's nice is it's really easy to go from orchestral music and bleed in

or overlap with a crossfade percussion because those will match up pretty well.

But if you have two orchestral pieces, you're trying to line up.

Another advantage you have with the audio track layers is

you can see those waveforms as you're overlapping them.

And so we just zoom in a little bit on that.

I can see

you go, So I wanted you to see this waveform

as I overlap these together, right?

You can really see that.

So I can check the alignment,

go in a little bit more.

I can really see it now if I drag these over time

to see how I can align those and I can really look at those waveforms

and say, okay, this is right where I think I can make those musical phrases

kind of line up better just because I'm in my audio track layers.

So that's very useful when you're working with music.

And then one other thing to be aware of is you always want to put your fades

on the upper track, whatever the upper most clip is within that track.

And so right here

I want to make sure that I'm going from this lower one to the upper one,

same thing.

I'm going from this lower one up to this upper clip as well.

I can also put it below if I wanted to, but then I would need to put the fade

on the upper most clip.

Okay, That's the way it has to work for your fades.

And then what's great about your fades as well?

I'm going to go hide my audio track layers.

And as you can see now, I can actually see those cross fades very easily.

I can adjust their power right there by just dragging on the edges of that.

You can see

I can adjust them like this where I can actually see

how powerful

that's going to be, or I can change the shape of those crossfade as well.

Maybe want to slope this in so that the percussion is going to come in

much faster.

I could also do that while it's in

audio track layers as well.

Go back and show my layers and here I can adjust the power of a

one of my fades just by dragging that as you can see.

So that's just gives you different options for your fade shape.

So that is a, you know, a look at how our audio track layers work.

And just a couple of uses for those.

I'm going to just play this back so you can hear the musical change

here.

I feel like Alex Crier has lost power.

His oxygen level is critical and you can see that transition sounds pretty good.

Let's check the second one.

So this will significantly reduce your power reserve.

So you may not have enough to return because those.

Are you sure?

All right.

So depending on what you're trying to do,

like I said, you can adjust this fades and make it work.

But the big takeaway here is that audio track layers are a powerful way of working

with multiple clips within the same track, whether you're using it for storage

to test drive different versions of something and keep the others there

just in case you need them,

or even cutting together a comp and making musical transitions.

So that's audio track layers.

And thank you for watching.