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Hi, I'm
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Mary, and I'm going to show you audio
track layer editing and working with audio
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track layers in the Fairlight page
of DaVinci Resolve 17.
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Let's get started.
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So in this project,
you're going to see on this lower track
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we have three different
takes of a voiceover recording
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and we need to edit these
to create the best comp or composition
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of the best takes.
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Write the parts
or the words that we want to use.
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We can edit those together
and then place them where they belong in
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the timeline and we'll do all of that
editing within the layers of one track.
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Now before we get started on this,
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I don't really need
all of these other elements here.
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I don't need the dialog tracks
at least while I'm doing my editing.
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So we're going to streamline
the interface.
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One of the first things I want to do
is just hide this text.
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As you can see up here in my viewer,
I can still see
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the text prompt that I was using
for the original recording,
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so I can just select that piece of text
right there and press D to disable it.
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As you can see,
the text is now gone in my viewer.
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And then I also want to hide
the video tracks all together.
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I don't really need to see
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the video tracks for this,
so I'll come up to my timeline
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view options
and just d select video tracks.
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And then I'm also going to hide the parts
of the interface that I don't need
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any time.
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You don't need a particular panel showing.
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If you hide, that then gives
you more real estate to do the work
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you're doing at that time.
And so I'm going to hide.
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Both my mixer and my meters
don't need to see any of those.
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And the last thing I'd like to do
is just hide these extra tracks.
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So I'm going to go ahead and do that now
by just going up to the index.
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And over in the index, you can see
I already have two tracks that are hidden.
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I'm going to hide the drone track
as well as the dialog.
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And as you can see,
any time you're in the tracks index,
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all you have to do
is click on one of these icons.
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It looks like an AI,
that is your visibility
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and that will also hide
the associated track in the timeline.
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So I'm going to go ahead and hide that.
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So the only one that's left
visible will be the voiceover.
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As you can see, that's the only one
I can see at this moment.
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Now, keep in mind, hiding tracks
does not actually mute them from playback.
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So if I don't want to hear
the other tracks while I'm working,
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I can either solo the track I'm working on
or go ahead and mute the others.
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And in this case I think I'll mute them.
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So I'm just going to go ahead and mute
those.
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I can actually swipe that mute
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right across there.
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So all of these tracks are muted.
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The only one that will be playing back
now is my scratch voiceover,
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which is perfect,
and I'll go ahead and close up that index.
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So now I'm going to zoom in.
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I'd like to kind of place my play
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head over the middle of these clips
and zoom in horizontally.
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I can use the option key
and my middle mouse wheel to do that.
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So you can see I can zoom in that way.
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I can also hold down
the option are all key
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and use minus in equals to do that
zooming as well.
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Also, I'm going to zoom vertically
and I can do that with my
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my three button mouse
by holding the shift key
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and then I can zoom vertically around
whatever the selected track.
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Or in this case, it's
the only track in the timeline.
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So now I have a nice view of my
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different waveforms that I'm working with
and the different takes.
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And now I want to show my audio
track layers, which is a view,
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a different way of viewing your timeline.
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Switch under the View menu.
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I'll just go to view all the way down
to the bottom of that
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menu, show audio track layers,
and then we have it.
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And so what that's showing me
as you can see,
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is all of the layers
within that one track.
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Right now I have only one track
showing all of those different layers
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are different takes in my recording
within the same track
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and the way I can create a comp with this
or a composite or my best takes
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is to go through and cut up
the different takes
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and then I can shuffle them around
and determine which one is the best part
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of that particular performance
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or of the phrasing or whatever it is
that I want to actually use
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when it comes to audio track layers,
you will only hear the uppermost tracks.
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So for example, if my play head is here,
I'm only going to hear the orange clip.
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My play head is over here.
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I'm only going to hear this apricot clip
at that moment because it's on top.
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And what's great about this is
you can move them around at any time,
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even during playback.
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So, for example,
I could just pull this straight up
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and move that orange clip
above the others.
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I can also move the yellow one up.
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And as you can see,
I can move these very easily.
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Now, if I've got them aligned
just right, exactly
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where I want them kind of stacking them up
based on what was said.
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If I want to move it up or down
but not change its position
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horizontally, I just want to move it
vertically, then I can hold that shift key
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and then it's going to drag, it's
going to constrain it.
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So we'll only move up and down
and it won't slip side to side,
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which is great if I happen to have these
all sink together.
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So I'm going to pull this back up.
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And like I said, if I hold shift,
I won't be able to drag it left to right.
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Notice that as I pull one layer over
top of the other, you can actually see
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it becomes transparent
and you can actually see the wave forms,
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which is really helpful
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because that allows you to really do
precision alignment as well.
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And so what I'm going to do
is I'll just show
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you I'll move back to the beginning here.
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And if I were to play this
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email, I can actually switch them
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during playback, as you can see,
and listen to different takes as I go.
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I cannot explain this discrepancy
if I wanted to, or I can wait
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and cut them up and then check them later
if I wanted to.
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Now my first goal is I want to
break these up because they are the same.
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They're saying the same words.
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And so I just want to align them
by phrases and then cut them.
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And so what I'll do
is I'm going to come over to the beginning
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and one of the things I need to know is
I want to kind of line up
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that first phrase.
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So I'm just going to grab this orange
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clip and notice that you can see where the
waveforms align right there on the left.
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It's pretty easy to see those.
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Now, I could also turn off that outline,
but I think the outline actually works
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really well on those waveforms.
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I could really align them
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and it looks like that first phrase is
aligned very nicely over here on the left.
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So I'd like to split this right
at that position and cut this off.
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So I'll have one little stack
of just the first phrase that was said,
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which is a million and a million a Newton.
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So if that's what I actually want first,
then I align those.
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I'm going to go and trim this left edge,
kind of match those up a little bit.
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And if I want to cut these or split this,
I'm going to use the Razor tool,
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which is up here at the top.
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As you can see in our toolbar,
you'll see the razor tool
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and the shortcut is Command B as in Blade,
same as what you have on the edit page.
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So it's very easy to access that.
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However, there's a couple of things
I want you to pay attention to with
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that is
what does it actually going to cut?
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If I press Command B with nothing
selected, what's it going to cut?
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What's going to follow the same convention
of what
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you can actually hear,
which is the uppermost layer
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and so if you look only
the upper layer was cut
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at that moment, which is great,
except that's not exactly what I wanted.
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Right now.
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I want to cut them all to make stacks
and even stacks of the different phrases
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so then I can move them into position
in the timeline.
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So I'm going to undo that, move my play
head back there, and instead I'm
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going to press command a which will select
all of the clips within that layer.
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Now, if I was in a timeline
and there were other tracks showing,
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it would select all of the clips
in the timeline.
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But because the other tracks are hidden,
none of those will be affected
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by any kind of splitting
that I'm doing here.
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So that will be very effective.
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As you can see, the red outline on
the clip shows they've both been selected
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and then if I want to cut that,
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just Command B and I just split that right
there, as you can see.
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All right.
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Now, I want to move the next group
of clips and align them.
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As you can see,
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it looks like
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I need to move the yellow clip down
a little bit to align those better.
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And one of the things I could do
is manually drag it over or I can nudge it
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using our nudge keys,
which would be the comma and the period.
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So I'm just going to press the period key.
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And as you can see, I can just walk
that clip down into position, hold shift.
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While you do that, it's going to nudge
by five frames at a time or whatever
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you happen to set in your preferences
for your multi-frame nudge.
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As you can see, it looks like these are
pretty well aligned at this point.
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I might trim up this orange section
just to kind of match their length,
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and I'm going to just come down to that.
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The space in between this phrase
and I'll do the same thing, command A
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to select all those clips
under my play head command B
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and that will blade or split that for me.
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So that was pretty easy.
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Now let's come down to this next group
and I'd like to finish slicing these up.
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And so one of the things I want to do is
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I've also got this clip
that's up here on the third layer.
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And so I'm going to first
trim that a little tighter,
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and I'd
like to align it a little better as well.
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So I'm just going to grab that.
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And just by moving it
a little bit left and right, notice
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I can align that pretty well.
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Now I notice that my snapping is engaging,
and any time
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that you start to drag, it's
going to try to align with other elements,
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whether it's other clips or markers
or things like that.
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So this might be a good opportunity
to turn off my snapping.
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Snapping is located up here
in the toolbar.
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The shortcut is in like napping.
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And what that will do is it
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will turn off that magnetic property
when you're trying to align things.
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And that means I can freely align
this exactly what I want it to go.
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So I'm going to grab it
and just align that and notice how
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well I can make that phrase line up
with the one below it.
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And as you can see,
those are in in good alignment.
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And then I'm going to hold the shift key.
Just put it back on top for now.
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And I'm also going to move this
yellow clip over a little bit more.
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I'll just tap my nudge key
a couple of times.
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The period to align that up
just a little bit more.
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So now all of these
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phrases are pretty close
and I could go in there and split these.
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Now I could just press A, select
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A, command B, and I've just made that cut.
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But for this middle section,
I'm going to split the whole thing.
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Instead of using two cuts with a blade,
I'm going to actually use
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my range selection to create a range
and then just break it at the range
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and I'll show you that right now.
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Shortcut for the range
tool is AR for range.
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And once I have that range,
I can just select.
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In fact, I'll move my head out of the way.
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I don't need that.
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I'm just going to click
and drag across here
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and notice that I have selected
all of those clips.
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Now, if I drag into the lower track,
it may or may not.
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If there were a lower track,
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it may not select that lower section
to make sure you stay within your track.
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If I notice,
you see how everything highlights as you
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select it within a range.
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So I know that anything within those range
boundaries is what will be affected.
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When I split this and the other thing
is any time you create a range
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and you want to just finesse the edges
of that or the duration of that range,
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you can hold your shift key
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and that will allow you to adjust the
in point or out point by just grabbing it.
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And so at this point,
I want to tighten this up a little bit.
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I'll hold the shift key and those that
I can just grab the edge of that range
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and I can modify that without necessarily
clearing the other side.
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So everything within this range.
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Now I'd like to split and notice
that if I come down
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towards the bottom, my range,
you'll see that I have this.
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My tool looks like a hand.
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00:11:10,291 --> 00:11:14,250
And what I can do with that
is it allows me to grab this range
226
00:11:14,250 --> 00:11:16,375
and I'll just pull down on it
just slightly.
227
00:11:16,375 --> 00:11:19,083
And that split everything right there
within that range
228
00:11:19,083 --> 00:11:22,833
and then I can just release it
and I've now split those clips.
229
00:11:22,916 --> 00:11:26,250
I'm going to click anywhere
off of that range to deselect it.
230
00:11:26,250 --> 00:11:31,458
And as you can see, I now have all of
my different pieces are all split up.
231
00:11:31,541 --> 00:11:34,916
I could trim my clips with my range tool
if I wanted to notice it.
232
00:11:34,916 --> 00:11:37,791
If I go to trim something,
it automatically pops to a higher layer
233
00:11:37,791 --> 00:11:41,083
so I can see the entire clip
in case I need to see more information.
234
00:11:41,166 --> 00:11:43,458
Otherwise everything looks good.
235
00:11:43,458 --> 00:11:47,458
I can use my range tool to split to trim,
or I could go back to my arrow
236
00:11:47,458 --> 00:11:50,458
tool, a four arrow,
and I could trim clips that way.
237
00:11:50,541 --> 00:11:53,458
And so now I have just split up
all of those different takes
238
00:11:53,458 --> 00:11:55,250
and I can actually put them
in the timeline
239
00:11:55,250 --> 00:11:58,291
and move them into position
if I wanted to, while
240
00:11:58,291 --> 00:12:01,500
they're still inside of these stacks.
241
00:12:01,583 --> 00:12:05,708
Or I could also go in there and I could
242
00:12:05,750 --> 00:12:07,833
go up to The View
243
00:12:07,833 --> 00:12:11,125
and select show audio track layers
244
00:12:11,125 --> 00:12:14,916
and I could move them around
now without the layer showing.
245
00:12:14,916 --> 00:12:17,958
Either way,
I can work with these different takes.
246
00:12:18,166 --> 00:12:21,791
And what's great about
this is if I have different performances
247
00:12:21,791 --> 00:12:26,083
and there are a few best performances
and then within the same track as layers,
248
00:12:26,291 --> 00:12:28,375
whichever one is underneath,
we won't hear it.
249
00:12:28,375 --> 00:12:30,625
It doesn't cost us any extra processing.
250
00:12:30,625 --> 00:12:32,250
But just in case your director says,
you know,
251
00:12:32,250 --> 00:12:35,750
I think I like the other performance
better, it will take you all of 2 seconds
252
00:12:35,750 --> 00:12:40,375
to go into track layers and switch that up
and put the other one back in its place.
253
00:12:40,500 --> 00:12:43,500
You could do the same thing for sound
effects or music or anything else.
254
00:12:43,500 --> 00:12:46,583
If you have another selection
that's equally good or you're not sure
255
00:12:46,583 --> 00:12:49,750
about which one you're going to use,
keep them both in the same track.
256
00:12:49,958 --> 00:12:52,791
Hide one beneath the other one,
and you'll still have easy access to
257
00:12:52,791 --> 00:12:55,291
it if you ever need it.
258
00:12:55,375 --> 00:12:56,666
So let's go ahead and I'm
259
00:12:56,666 --> 00:13:00,458
going to go back to show my audio
track layers again,
260
00:13:00,500 --> 00:13:02,500
and I'm going to bring back
the other tracks now.
261
00:13:02,500 --> 00:13:07,666
So I'm going to go over to the index and
let's go ahead and show the dialog track.
262
00:13:07,750 --> 00:13:09,750
And the reason
I want to show the dialog track
263
00:13:09,750 --> 00:13:13,625
is because that's where you can see
the space of what we're actually replacing
264
00:13:13,625 --> 00:13:18,000
is those clips that were disabled
right there in the timeline.
265
00:13:18,083 --> 00:13:20,166
So we want to turn those off.
266
00:13:20,166 --> 00:13:24,291
And then I'm also going to come over here
and I don't need my drone track yet.
267
00:13:24,291 --> 00:13:25,916
I think that's the only one
I actually need.
268
00:13:25,916 --> 00:13:27,833
We can bring the drones back
if we want to.
269
00:13:27,833 --> 00:13:30,541
It's doesn't affect what we're doing.
270
00:13:30,541 --> 00:13:31,375
And there we go.
271
00:13:31,375 --> 00:13:34,375
Now, when you notice that
when you show your audio track layers,
272
00:13:34,500 --> 00:13:37,125
you will see the layers
for all your tracks.
273
00:13:37,125 --> 00:13:39,916
If you notice that my top track here,
274
00:13:39,916 --> 00:13:42,916
it's a mono track,
so there are no other layers in there.
275
00:13:42,916 --> 00:13:48,416
You only see just the one clip
the drone track has is a stereo sound,
276
00:13:48,416 --> 00:13:51,416
so you'll see both channels for that
whenever the layers are showing.
277
00:13:51,458 --> 00:13:52,125
And then of course,
278
00:13:52,125 --> 00:13:53,791
when we're looking at the scratch
voiceover
279
00:13:53,791 --> 00:13:56,000
that we're working with the scratch
VOICEOVER
280
00:13:56,000 --> 00:13:59,791
You see all three layers right there
within that track.
281
00:13:59,875 --> 00:14:03,416
Now one of the things I'd like to do
is move this up above the drone.
282
00:14:03,416 --> 00:14:05,875
You know, notice
how it's down here in the bottom section.
283
00:14:05,875 --> 00:14:08,250
I'd really like to change its track
position.
284
00:14:08,250 --> 00:14:11,625
Well, I got a couple of
choices. I could right click
285
00:14:11,708 --> 00:14:14,541
and I could choose
286
00:14:14,541 --> 00:14:18,333
move, track up, and it will move it up
one at a time or down.
287
00:14:18,416 --> 00:14:22,500
Or I could just come over here
in my tracks index and I could grab that
288
00:14:22,500 --> 00:14:25,666
track, scratch voiceover
and just move it up where I want it
289
00:14:25,666 --> 00:14:30,416
directly below the dialog, you know, so
it can move that track position instantly.
290
00:14:30,416 --> 00:14:32,333
Just like that.
291
00:14:32,333 --> 00:14:33,916
I can hide my index.
292
00:14:33,916 --> 00:14:39,458
And I also want to focus on the audio
track layers, just that middle track.
293
00:14:39,541 --> 00:14:42,875
Because that track is selected,
it makes it easier for me
294
00:14:42,875 --> 00:14:44,291
to zoom in on the clip.
295
00:14:44,291 --> 00:14:48,000
Remember zooming horizontally right there
296
00:14:48,083 --> 00:14:50,458
where the play head is,
and I'm also going to zoom
297
00:14:50,458 --> 00:14:53,583
vertically and that will look at whatever
my selected track is.
298
00:14:53,583 --> 00:14:55,625
And as you can see, there it is.
299
00:14:55,625 --> 00:14:59,416
And what I was going to point out
was if I wanted to select this,
300
00:14:59,500 --> 00:15:04,541
the stack of clips right here
and move them, if I as long as I click
301
00:15:04,541 --> 00:15:10,041
and drag across them to get both pieces,
I can move the entire stack.
302
00:15:10,125 --> 00:15:12,625
If I only grab from the top,
303
00:15:12,625 --> 00:15:15,625
I'm only moving the upper layer,
I'm going to undo that.
304
00:15:15,750 --> 00:15:16,583
So that's something you need
305
00:15:16,583 --> 00:15:20,458
to be aware of, whether you're working in
with the layers showing or hidden.
306
00:15:20,666 --> 00:15:24,666
Anytime you have a stack of clips
you can easily pull off the top on or grab
307
00:15:24,666 --> 00:15:28,625
an entire stack of 20 clips, however
many are in that layer at the same time.
308
00:15:28,625 --> 00:15:33,208
So let's use look at that in action
as we put these clips into position.
309
00:15:33,250 --> 00:15:37,500
And so if you look at my timeline,
I have a yellow marker at the top
310
00:15:37,708 --> 00:15:42,125
that is representing
where each of these pieces of audio goes.
311
00:15:42,208 --> 00:15:45,083
Navigation
between markers is very simple shift
312
00:15:45,083 --> 00:15:48,291
and the down arrow
to move down the timeline for marking
313
00:15:48,291 --> 00:15:51,708
a marker or shift and the up arrow
to move to the previous marker.
314
00:15:51,791 --> 00:15:53,750
As you can see, I can go to that marker.
315
00:15:53,750 --> 00:15:55,125
I can see that right there.
316
00:15:55,125 --> 00:15:56,666
And all I can do is grab this stack.
317
00:15:56,666 --> 00:16:00,875
I'll just drag across them and
I can just snap that right into position
318
00:16:00,958 --> 00:16:04,083
and we go and I'm there
and I do have my snapping turned off.
319
00:16:04,083 --> 00:16:07,958
So I'm moving very freely, but I'm just
looking at I have an idea where it goes.
320
00:16:08,208 --> 00:16:11,708
So I'm looking at the previous clip
to know where this goes.
321
00:16:11,750 --> 00:16:13,666
Now, instead of grabbing all of this
322
00:16:13,666 --> 00:16:17,583
while I'm seeing my track layers, I'm
actually going to hide those track layers.
323
00:16:17,666 --> 00:16:19,833
So go to the View menu back down.
324
00:16:19,833 --> 00:16:23,583
Let's just high those audio track layers
and I can zoom in on
325
00:16:23,583 --> 00:16:25,625
this section a little bit
326
00:16:25,708 --> 00:16:27,500
and we can place these last clips
327
00:16:27,500 --> 00:16:30,500
without having to see everything
because they're all right here.
328
00:16:30,500 --> 00:16:32,166
There's the markers for these.
329
00:16:32,166 --> 00:16:34,250
And if I wanted to grab this,
just remember,
330
00:16:34,250 --> 00:16:37,875
if I drag the top, I'm
only getting the top of the layers right.
331
00:16:37,875 --> 00:16:39,291
I'm just going to undo that.
332
00:16:39,291 --> 00:16:43,125
If I want to grab the entire stack,
I grab from next to it, drag across it,
333
00:16:43,125 --> 00:16:44,416
and now I have the entire stack
334
00:16:44,416 --> 00:16:46,916
and I could just pop it into position
really quickly.
335
00:16:46,916 --> 00:16:52,416
And as you can see, it's very easy
to move these into position
336
00:16:52,500 --> 00:16:56,791
for my editing so I can place them
wherever they need to go
337
00:16:56,875 --> 00:17:01,750
just by moving them into position
so it doesn't take any effort
338
00:17:01,791 --> 00:17:05,750
to move those again,
just drag the entire stack,
339
00:17:05,833 --> 00:17:09,000
place it where it goes, grab the next
step, place it where it goes.
340
00:17:09,000 --> 00:17:10,083
And so on.
341
00:17:10,083 --> 00:17:12,375
And so there should be one for
each section.
342
00:17:12,375 --> 00:17:15,000
There we go.
343
00:17:15,083 --> 00:17:16,208
And it's that easy.
344
00:17:16,208 --> 00:17:19,500
And so now I've put all of these clips
where they belong.
345
00:17:19,583 --> 00:17:21,291
Now, I haven't really auditioned them.
346
00:17:21,291 --> 00:17:23,125
I haven't decided which take I like best,
347
00:17:23,125 --> 00:17:25,708
but at least I have
all of those stacks in the position.
348
00:17:25,708 --> 00:17:29,416
So that is the layered audio
editing as well as kind of placing them
349
00:17:29,416 --> 00:17:30,208
where they go.
350
00:17:30,208 --> 00:17:31,416
And then if I want to decide
351
00:17:31,416 --> 00:17:34,750
which take I like the best,
I could just come over here.
352
00:17:34,791 --> 00:17:36,958
I'll just pick this one
that has three takes.
353
00:17:36,958 --> 00:17:39,500
I'll zoom in on that a little bit
if I want to.
354
00:17:39,500 --> 00:17:42,500
I could do a loop playback of a range
355
00:17:42,500 --> 00:17:46,000
and if I want to make this really easy,
I can also just mark an endpoint.
356
00:17:46,083 --> 00:17:48,416
I for in and over out.
357
00:17:48,416 --> 00:17:52,000
As you can see,
I just marked a range that includes
358
00:17:52,250 --> 00:17:55,583
the stack I'm working with,
plus the dialog right before that.
359
00:17:55,666 --> 00:17:58,791
If that's going to help me determine
which take is
360
00:17:58,791 --> 00:18:01,791
best,
might make this track a little bit bigger.
361
00:18:01,791 --> 00:18:06,666
If I want to audition my different takes
and then I'll show my audio track layers
362
00:18:06,708 --> 00:18:07,708
once again.
363
00:18:07,708 --> 00:18:09,083
And so now I can do my playback.
364
00:18:09,083 --> 00:18:12,916
Remember holding shift
while I'm checking the different clips?
365
00:18:12,916 --> 00:18:14,458
Will not move them out of position.
366
00:18:14,458 --> 00:18:17,458
So I'll start with looped playback.
367
00:18:17,458 --> 00:18:21,166
Make sure I turn on my loop
playback up here at the top
368
00:18:21,250 --> 00:18:25,291
and remember loop playback is up here
in your transport controls.
369
00:18:25,375 --> 00:18:29,541
Once that's turned on option and forward
slash will start the loop playback.
370
00:18:29,541 --> 00:18:33,333
I can't explain this discrepancy
371
00:18:33,416 --> 00:18:34,791
now I have this other track muted.
372
00:18:34,791 --> 00:18:36,958
I will unmute it so I can hear them both.
373
00:18:36,958 --> 00:18:38,250
How's that possible?
374
00:18:38,250 --> 00:18:41,166
I can't explain this discrepancy.
375
00:18:41,166 --> 00:18:42,791
Ada. How's that possible?
376
00:18:42,791 --> 00:18:45,666
I can't explain this discrepancy.
377
00:18:45,666 --> 00:18:47,250
Ada How's that possible?
378
00:18:47,250 --> 00:18:50,166
I cannot explain this discrepancy.
379
00:18:50,166 --> 00:18:51,750
ADA How's that possible?
380
00:18:51,750 --> 00:18:54,625
I cannot explain this discrepancy.
381
00:18:54,625 --> 00:18:56,250
ADA How's that possible?
382
00:18:56,250 --> 00:18:59,125
I can't explain this discrepancy.
383
00:18:59,125 --> 00:19:00,750
ADA How's that possible?
384
00:19:00,750 --> 00:19:01,708
I cannot.
385
00:19:01,708 --> 00:19:03,625
Okay,
so I think the best take is going to be
386
00:19:03,625 --> 00:19:06,083
this one
that's orange of those different takes.
387
00:19:06,083 --> 00:19:09,000
And so that's how I just chose
which one I wanted to use.
388
00:19:09,000 --> 00:19:11,083
I'll leave the other ones
there just in case.
389
00:19:11,083 --> 00:19:13,625
And I can actually hide
my audio track later.
390
00:19:13,625 --> 00:19:17,000
So as you can see, it doesn't take a lot
to be able to work with this.
391
00:19:17,208 --> 00:19:19,208
It's just putting together
a lot of the different things
392
00:19:19,208 --> 00:19:20,458
that we've already learned.
393
00:19:20,458 --> 00:19:23,125
And as you can see in no time at all,
394
00:19:23,125 --> 00:19:23,583
you can not
395
00:19:23,583 --> 00:19:27,333
only record your different takes,
but you can then edit them into a comp
396
00:19:27,416 --> 00:19:29,333
and then you can place them
in the timeline
397
00:19:29,333 --> 00:19:31,666
and you can decide
if you want to keep all of them
398
00:19:31,666 --> 00:19:35,500
or if you only want to keep the best takes
or whatever that is.
399
00:19:35,541 --> 00:19:37,875
So that's just editing with audio
track layers.
400
00:19:37,875 --> 00:19:40,041
Now I'm going to show you
audio track layers with music
401
00:19:40,041 --> 00:19:43,708
and we'll just use a couple of different
techniques to kind of crossfade in between
402
00:19:43,791 --> 00:19:45,250
different pieces of music.
403
00:19:45,250 --> 00:19:48,333
So I'm just going to switch
to a different timeline
404
00:19:48,416 --> 00:19:51,333
and we go, Now this is a different scene.
405
00:19:51,333 --> 00:19:55,958
Actually bring up my meters for this one
so you can see the viewer for a moment.
406
00:19:56,000 --> 00:20:00,750
And in this scene we have some mono clips
in the top two tracks.
407
00:20:00,750 --> 00:20:03,916
We have a stereo track
with some sound effects.
408
00:20:04,083 --> 00:20:07,916
We have a drone,
which is a six channel, 5.1 surround.
409
00:20:07,916 --> 00:20:11,666
And then we have the music,
which is all in this lower track.
410
00:20:11,875 --> 00:20:16,375
And so when I go to show
audio track layers under the View menu,
411
00:20:16,458 --> 00:20:19,250
you'll see that
depending on how many channels
412
00:20:19,250 --> 00:20:23,125
there are in the actual tracks,
that's how many different
413
00:20:23,208 --> 00:20:25,375
layers
that you're going to see automatically,
414
00:20:25,375 --> 00:20:26,458
all of those different layers.
415
00:20:26,458 --> 00:20:31,291
So this one has six layers, four,
six channels and the stereo have two.
416
00:20:31,375 --> 00:20:32,666
So when we work with the music,
417
00:20:32,666 --> 00:20:38,000
you're going to see two channels at all
times, even when you're moving it around.
418
00:20:38,083 --> 00:20:39,958
So what I'd like to do here is
419
00:20:39,958 --> 00:20:43,625
look at the scene and in this case
we need to select the right music.
420
00:20:43,625 --> 00:20:47,166
And instead of one piece of music,
this this scene actually calls for
421
00:20:47,166 --> 00:20:51,125
maybe three different things happening
within the storyline.
422
00:20:51,333 --> 00:20:55,083
And so if I were just to do playback, I'm
going to yeah,
423
00:20:55,083 --> 00:20:56,666
I'll meet the music for the moment.
424
00:20:56,666 --> 00:21:00,625
And if I just play a little bit of this,
I'll start right about here.
425
00:21:00,875 --> 00:21:03,875
This is where a million
A wakes up in a space pod.
426
00:21:03,916 --> 00:21:05,541
She's trying to figure out
what's going on.
427
00:21:05,541 --> 00:21:06,041
So there's that
428
00:21:06,041 --> 00:21:09,916
little bit of mystery and action
and what's happening kind of music.
429
00:21:10,000 --> 00:21:11,958
But then she gets the bad news
that Phillips
430
00:21:11,958 --> 00:21:16,166
hurt and Phillips
crying pods losing power.
431
00:21:16,166 --> 00:21:18,208
He's probably going to die
if they don't do something.
432
00:21:18,208 --> 00:21:21,375
And so I'd like to change up to something
with percussion in it
433
00:21:21,375 --> 00:21:22,458
or whatever to give us like
434
00:21:22,458 --> 00:21:25,750
a little bit of a heartbeat,
some kind of a pulsing type sound there.
435
00:21:25,791 --> 00:21:28,583
So that's what
we're going to cut into next.
436
00:21:28,583 --> 00:21:30,958
And then the third piece of music
is where she's resolved
437
00:21:30,958 --> 00:21:34,333
and decides, okay, I'm
going to go risk my life and save Philip.
438
00:21:34,416 --> 00:21:37,791
So we need to kind of those marching
into battle sort of music, right?
439
00:21:37,791 --> 00:21:40,208
We need the the ready for action music.
440
00:21:40,208 --> 00:21:43,958
And so those with those are the three
different pieces I have here.
441
00:21:44,041 --> 00:21:47,333
But before that, let's just play
this little section without the music.
442
00:21:47,416 --> 00:21:49,375
So that you can see what's happening.
443
00:21:49,375 --> 00:21:57,625
I'll just go to full screen mode
444
00:21:57,708 --> 00:21:59,916
here where I'm like,
445
00:21:59,916 --> 00:22:07,291
You are an orbit of planet q-46, five B.
446
00:22:07,375 --> 00:22:09,083
Like I feel like.
447
00:22:09,083 --> 00:22:11,250
Phillips Krypton has lost power.
448
00:22:11,250 --> 00:22:12,291
His oxygen level.
449
00:22:12,291 --> 00:22:26,791
Is critical,
450
00:22:26,875 --> 00:22:27,083
but of.
451
00:22:27,083 --> 00:22:31,458
Course, to get me next to him, this will
significantly reduce your power resource.
452
00:22:31,583 --> 00:22:33,833
You may not have enough
to return to source.
453
00:22:33,833 --> 00:22:38,583
Are you sure should do it.
454
00:22:38,666 --> 00:22:38,958
Okay.
455
00:22:38,958 --> 00:22:41,083
So right there
where she's like positive, do it again.
456
00:22:41,083 --> 00:22:42,958
That's a good spot to change up the music.
457
00:22:42,958 --> 00:22:45,416
That's where
she's ready to switch things up.
458
00:22:45,416 --> 00:22:46,541
And so I've actually put a couple of
459
00:22:46,541 --> 00:22:50,250
markers in the timeline to show us
where we might want to change this music.
460
00:22:50,333 --> 00:22:52,541
I'm going to go ahead
and unmute the music track,
461
00:22:52,541 --> 00:22:55,208
and then what I'll do
is I'm going to squish
462
00:22:55,208 --> 00:22:57,833
or we're going to condense
all of the other tracks
463
00:22:57,833 --> 00:23:01,541
and just take a good look
at the music track for this.
464
00:23:01,541 --> 00:23:05,041
And so what I'll do is I'll just grab
that vertical slider and just scrunch
465
00:23:05,041 --> 00:23:07,875
everything up towards
the left so I make them as
466
00:23:07,958 --> 00:23:09,125
as thin as possible.
467
00:23:09,125 --> 00:23:13,708
And that way I can just stretch
the slowest track, the music track down
468
00:23:13,791 --> 00:23:15,625
that way.
I still have a nice big track for that.
469
00:23:15,625 --> 00:23:16,916
The other ones are out of the way.
470
00:23:16,916 --> 00:23:19,791
I can still see them
and now we can focus on the music.
471
00:23:19,791 --> 00:23:22,708
So let's listen. We've got this.
472
00:23:22,708 --> 00:23:25,375
This first bit of music starts
473
00:23:25,375 --> 00:23:26,916
and this is from the actual soundtrack.
474
00:23:26,916 --> 00:23:30,541
So this is all working
for this introductory part.
475
00:23:30,625 --> 00:23:32,208
Here where
476
00:23:32,208 --> 00:23:33,458
you are in orbit of the planet.
477
00:23:33,458 --> 00:23:36,208
q-46, five.
478
00:23:36,208 --> 00:23:37,666
All right. So this is all good.
479
00:23:37,666 --> 00:23:40,875
But then when she finds out about Phillip,
I want to hit that percussion.
480
00:23:41,125 --> 00:23:41,875
Now, if you look at this
481
00:23:41,875 --> 00:23:45,625
second clip, this green clip, notice
that it starts out with some strings.
482
00:23:45,625 --> 00:23:49,708
I can tell just by looking at the waveform
more of an orchestral bit.
483
00:23:49,791 --> 00:23:51,750
This will sing also this.
484
00:23:51,750 --> 00:23:53,458
So we just hear the music.
485
00:23:53,458 --> 00:23:55,500
So I don't want any of the strings.
486
00:23:55,500 --> 00:23:58,208
I just want to get to the part
where we have percussion.
487
00:23:58,208 --> 00:24:01,583
So what we'll do is we'll just trim this
year quickly by describing the beginning.
488
00:24:01,583 --> 00:24:03,625
Here's the percussion
489
00:24:03,625 --> 00:24:06,083
here that that's going to work great
with the other clip,
490
00:24:06,083 --> 00:24:07,708
but I want to actually bleed it in.
491
00:24:07,708 --> 00:24:10,166
We're just going to kind of do
a nice long crossfade on that.
492
00:24:10,166 --> 00:24:12,333
And so I want to trim the beginning of it.
493
00:24:12,333 --> 00:24:15,666
Notice what happens when I go to trim this
because we have our layers.
494
00:24:15,750 --> 00:24:18,500
It allows me to see the entire waveform on
both sides,
495
00:24:18,500 --> 00:24:22,166
and I can just easily go in there
and just tighten this up nicely.
496
00:24:22,375 --> 00:24:22,750
And there.
497
00:24:22,750 --> 00:24:25,583
Now I know I'm into the percussion
section of that one.
498
00:24:25,583 --> 00:24:28,000
The other clip doesn't need any trimming.
499
00:24:28,000 --> 00:24:28,416
Okay?
500
00:24:28,416 --> 00:24:30,458
And then what I'm going to do
is I'm just going to move this over
501
00:24:30,458 --> 00:24:33,291
and I'd like to put it
on top of the first bit.
502
00:24:33,291 --> 00:24:37,125
So we're just going to drag upward
and move it over to that green marker.
503
00:24:37,125 --> 00:24:40,125
And as you can see, so this way
it'll start right where we need to.
504
00:24:40,291 --> 00:24:42,958
And if I back up, it'll be a straight
cut at the moment.
505
00:24:42,958 --> 00:24:50,083
But as you can see, I just easily
laid one clip on top of the other
506
00:24:50,166 --> 00:24:50,958
on the
507
00:24:50,958 --> 00:24:58,000
and solo that
so you can actually hear with the dialog.
508
00:24:58,041 --> 00:24:59,375
I feel like.
509
00:24:59,375 --> 00:25:03,250
Philips Krypton has lost power
his oxygen level is critical
510
00:25:03,291 --> 00:25:06,041
so right as she's saying
his oxygen levels are critical.
511
00:25:06,041 --> 00:25:10,250
That's where we should be fading in
this sound will be almost like a heartbeat
512
00:25:10,250 --> 00:25:10,958
or something like that.
513
00:25:10,958 --> 00:25:13,250
So I'm going to go ahead
and just add a fade. Right now.
514
00:25:13,250 --> 00:25:15,375
I can make it as long as I want to
or short.
515
00:25:15,375 --> 00:25:18,333
I'll go ahead,
make a fairly long fade to bleed that in.
516
00:25:18,333 --> 00:25:20,750
And so we should go
then from one piece of music to the other.
517
00:25:20,750 --> 00:25:24,375
Let's test it.
518
00:25:24,458 --> 00:25:27,708
I feel like Philips
Krypton has lost power.
519
00:25:27,916 --> 00:25:33,666
His oxygen level is critical.
520
00:25:33,750 --> 00:25:34,791
Here you go.
521
00:25:34,791 --> 00:25:37,708
And so that's where we've just faded
from one to the other.
522
00:25:37,708 --> 00:25:39,958
Now, could we put these clips
on different tracks?
523
00:25:39,958 --> 00:25:42,875
Absolutely. In fact,
I'm going to take this fade off.
524
00:25:42,875 --> 00:25:45,125
I'm going to put this over here
and let's actually line
525
00:25:45,125 --> 00:25:47,875
these up one on top of the other,
just so that you can see.
526
00:25:47,875 --> 00:25:53,458
I could easily stick all of these clips on
top of each other, move them as a stack.
527
00:25:53,458 --> 00:25:54,625
Right.
528
00:25:54,625 --> 00:25:57,541
Grab the entire stack,
put it right here and test these.
529
00:25:57,541 --> 00:26:00,541
Just as I was mentioning
before we tested the video
530
00:26:00,666 --> 00:26:05,125
with the different dialog takes,
you can do the same thing with music.
531
00:26:05,125 --> 00:26:06,833
And in fact,
I use this technique all the time
532
00:26:06,833 --> 00:26:10,791
when I'm sampling different temp music
that I need to use with a scene,
533
00:26:11,000 --> 00:26:13,750
something we're cutting together
and I don't have the actual music yet.
534
00:26:13,750 --> 00:26:16,250
I will use different temp pieces
just for timing
535
00:26:16,250 --> 00:26:18,708
and then you can always replace it later
with the real sound.
536
00:26:18,708 --> 00:26:24,875
And so just showing you how easily
this will work as a stack, I've been
537
00:26:24,958 --> 00:26:27,541
this way I can hear the different music
bits, right?
538
00:26:27,541 --> 00:26:29,291
I feel it.
539
00:26:29,291 --> 00:26:32,500
That's this song and knows
all I'm doing is dragging one
540
00:26:32,500 --> 00:26:39,541
above the other.
541
00:26:39,625 --> 00:26:42,125
So at any time, even during playback,
I can test
542
00:26:42,125 --> 00:26:46,166
drive my different music and decide
which one I think is best.
543
00:26:46,166 --> 00:26:46,708
Same thing.
544
00:26:46,708 --> 00:26:49,833
You could do the same thing
with sound effects and so on.
545
00:26:49,833 --> 00:26:52,291
So I'm
going to put these back in position,
546
00:26:52,291 --> 00:26:53,875
just showing you how easily that works.
547
00:26:53,875 --> 00:26:55,375
Even during playback.
548
00:26:55,375 --> 00:26:58,666
I'll go and put this one back on top
as we originally planned,
549
00:26:58,916 --> 00:27:01,416
and then I'll set this one here.
550
00:27:01,416 --> 00:27:06,041
And that way we can fade
right from one to the other
551
00:27:06,125 --> 00:27:07,083
on both sides.
552
00:27:07,083 --> 00:27:09,833
And now we've got several pieces of music
going at once.
553
00:27:09,833 --> 00:27:13,833
Now what's nice is it's really easy
to go from orchestral music and bleed in
554
00:27:14,083 --> 00:27:18,208
or overlap with a crossfade percussion
because those will match up pretty well.
555
00:27:18,375 --> 00:27:21,000
But if you have two orchestral pieces,
you're trying to line up.
556
00:27:21,000 --> 00:27:24,000
Another advantage
you have with the audio track layers is
557
00:27:24,083 --> 00:27:26,916
you can see those waveforms
as you're overlapping them.
558
00:27:26,916 --> 00:27:31,708
And so we just
zoom in a little bit on that.
559
00:27:31,791 --> 00:27:36,666
I can see
560
00:27:36,750 --> 00:27:39,333
you go, So I wanted you to see this
waveform
561
00:27:39,333 --> 00:27:42,250
as I overlap these together, right?
562
00:27:42,250 --> 00:27:43,250
You can really see that.
563
00:27:43,250 --> 00:27:46,000
So I can check the alignment,
564
00:27:46,000 --> 00:27:47,250
go in a little bit more.
565
00:27:47,250 --> 00:27:50,208
I can really see it
now if I drag these over time
566
00:27:50,208 --> 00:27:53,625
to see how I can align those
and I can really look at those waveforms
567
00:27:53,625 --> 00:27:57,958
and say, okay, this is right where
I think I can make those musical phrases
568
00:27:57,958 --> 00:28:02,583
kind of line up better
just because I'm in my audio track layers.
569
00:28:02,583 --> 00:28:05,583
So that's very useful
when you're working with music.
570
00:28:05,708 --> 00:28:10,041
And then one other thing to be aware of is
you always want to put your fades
571
00:28:10,041 --> 00:28:13,708
on the upper track, whatever
the upper most clip is within that track.
572
00:28:13,708 --> 00:28:14,791
And so right here
573
00:28:14,791 --> 00:28:17,916
I want to make sure that I'm going
from this lower one to the upper one,
574
00:28:18,083 --> 00:28:18,750
same thing.
575
00:28:18,750 --> 00:28:22,291
I'm going from this lower
one up to this upper clip as well.
576
00:28:22,375 --> 00:28:27,458
I can also put it below if I wanted to,
but then I would need to put the fade
577
00:28:27,500 --> 00:28:29,333
on the upper most clip.
578
00:28:29,333 --> 00:28:32,291
Okay, That's the way
it has to work for your fades.
579
00:28:32,291 --> 00:28:34,416
And then what's great about your fades
as well?
580
00:28:34,416 --> 00:28:37,750
I'm going to go hide
my audio track layers.
581
00:28:37,791 --> 00:28:41,666
And as you can see now, I can actually see
those cross fades very easily.
582
00:28:41,750 --> 00:28:46,416
I can adjust their power right there
by just dragging on the edges of that.
583
00:28:46,500 --> 00:28:48,750
You can see
584
00:28:48,750 --> 00:28:51,833
I can adjust them like this
where I can actually see
585
00:28:51,875 --> 00:28:52,791
how powerful
586
00:28:52,791 --> 00:28:56,458
that's going to be, or I can change
the shape of those crossfade as well.
587
00:28:56,708 --> 00:28:59,708
Maybe want to slope this in
so that the percussion is going to come in
588
00:28:59,875 --> 00:29:01,541
much faster.
589
00:29:01,541 --> 00:29:03,916
I could also do that while it's in
590
00:29:03,916 --> 00:29:06,708
audio track layers as well.
591
00:29:06,708 --> 00:29:10,291
Go back and show my layers and here
I can adjust the power of a
592
00:29:10,375 --> 00:29:15,583
one of my fades
just by dragging that as you can see.
593
00:29:15,666 --> 00:29:19,208
So that's just gives you different options
for your fade shape.
594
00:29:19,250 --> 00:29:23,833
So that is a, you know, a
look at how our audio track layers work.
595
00:29:23,833 --> 00:29:26,000
And just a couple of uses for those.
596
00:29:26,000 --> 00:29:29,333
I'm going to just play this back
so you can hear the musical change
597
00:29:29,333 --> 00:29:33,458
here.
598
00:29:33,500 --> 00:29:36,750
I feel like Alex Crier has lost power.
599
00:29:36,958 --> 00:29:41,125
His oxygen level is critical and you can
see that transition sounds pretty good.
600
00:29:41,125 --> 00:29:42,541
Let's check the second one.
601
00:29:42,541 --> 00:29:46,291
So this will significantly reduce
your power reserve.
602
00:29:46,291 --> 00:29:48,791
So you may not have enough to return
because those.
603
00:29:48,791 --> 00:29:50,666
Are you sure?
604
00:29:50,666 --> 00:29:51,000
All right.
605
00:29:51,000 --> 00:29:52,583
So depending on what you're trying to do,
606
00:29:52,583 --> 00:29:54,625
like I said, you can adjust this fades
and make it work.
607
00:29:54,625 --> 00:29:59,000
But the big takeaway here is that audio
track layers are a powerful way of working
608
00:29:59,000 --> 00:30:02,541
with multiple clips within the same track,
whether you're using it for storage
609
00:30:02,750 --> 00:30:06,416
to test drive different versions
of something and keep the others there
610
00:30:06,583 --> 00:30:07,875
just in case you need them,
611
00:30:07,875 --> 00:30:12,083
or even cutting together a comp
and making musical transitions.
612
00:30:12,291 --> 00:30:14,750
So that's audio track layers.
613
00:30:14,750 --> 00:30:16,041
And thank you for watching.
55394
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