All language subtitles for 6-DaVinci-Resolve-17-Fairlight-ChannelMappingandLinkedGroups

Hi, I'm

Mary, and I'm going to show you
channel mapping and working

with Linked groups in the Fairlight page
of different results. 17.

Now, that doesn't sound very exciting.

This is probably 70 or 80%
of all the troubleshooting I have to do

is based on making sure
that people have the right channels

and are able to

access the microphones they need
when they're ready to do their work

within the timeline.

So let's take a look closer.

Look right here on these tracks.

As you can see, here's my production
dialog here is in an to test voice.

And then I just have some sound effects
which at this moment I have

that track muted.

I've kept this simple just so that
you can get a feel for just the basics.

This is my dialog and whenever you can
you want to try to keep your dialog

as a mono signal, meaning

that it's going to be coming out
equally from both speakers if it's stereo,

and that means it'll feel like it's coming
right out of the center of the screen.

And that goes way back to when cinema
sound was mono and the screens.

The single speaker was directly behind
the screen and it was very easy to follow.

Just like our televisions
used to have a single speaker.

And the sound always came

right out of the middle of the screen,
or it seemed that way.

And so whenever you would watch the scene,
the dialog was always very grounded

right there in a center.

Well, can you imagine now
that there's stereo and immersive formats?

If the dialog moved around every time
someone moved their position on screen,

if their sound also followed,

how much of a ping pong match
that would be for our ears?

And we'd be totally tracking people's
voices back and forth.

If it was an interview,
cutting it back and forth,

it would drive us crazy
and it wouldn't be very good.

Easy to follow.

Just as if you were watching
a conversation to people talking.

Your ears don't go back and forth. Right?

Their sound doesn't really change.

You just see them in front of you

and that's where their sound is grounded
in your head.

Same thing here.

So our goal is to try to get our dialog
to be on a single mono track

and you want the best performance or
the best microphone in order to get there.

And that's another trick
that you may have.

For example, in the shoot that I'm doing
right now, I have a shotgun mic above me

and I have my lapel mic
right here on my shirt, and those two

are being recorded separately.

And then we can choose
which of the two channels we'll use,

we won't use, and both will choose one
or the other or a blend of the two.

Right. Mixed together.

Same thing right here
when we're looking at our dialog tracks

this right here on my timeline,
you'll see that we have right?

It says production and you notice at 1.0
basically means that a single channel,

if I look down here,

this eight a track shows that it is stereo
2.0 or two channels.

The top channel is left,
the bottom channel is right.

And if I look, I notice
that I have some empty space in here,

which means this sound is only going
to play out of the left speaker

and that is going to be an issue.

Now, something interesting is

this is how we see it on the
Fairlight page, because the Fairlight page

always tells the story
of what's happening in all of the channels

within your timeline.

But if I were to go to the edit page
and I'm just going to click on this

right here to go to the edit page
at the bottom of the screen

and you notice on the edit page,
what does the editor see?

I'll just bring this up
so you can really focus on the audio

and you'll see the editor only sees
clips and tracks.

No empty channels, nothing else.

There's really no story here to tell
what's happening within the channels.

When I go back over to the Fairlight page,

it's very clear
that there's some empty space here.

And any time you have empty space

and a track, that's
probably not something that you want.

So our goal here is to make sure
that we found the best performance

or the best microphone source
that we're using for each clip if needed.

And the other one is to make sure
that the channels for the particular clips

we're using match the track
and vice versa.

So right now

I look,
if I play just the beginning of this, I'm

going to play
a little bit of the dialog exchange.

You'll hear that.

Emiliano It's going to sound like
she's coming equally out of both speakers.

That's going to be a mono signal.

And you also hear the sound, which
will only come out of the left channel.

If you happen to hear down the right
channel.

Your headphones are
backwards, so let's try it.

It or am I?

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

Can you hear the difference?

So one of them sounds like it's
coming out of both, both earphones.

If you're listening,

speak a speaker or headphones,
you'll hear it coming out of both.

The other one, just one side.

So if I were to look at all of this track,
I can see that

there's no spinning nothing under there.

So be easy for me
to just change this track to mono.

If you notice, the last clip in
this one has an empty channel

in the same spot,
so I won't miss anything there either.

So we'll just come over to the track
header, just right click on that

track header
and go down to change track type mono.

And when I do that, it's now
a monitor track.

Anything that was in the lower channels
I won't see or hear anymore.

It doesn't mean it's deleting information.

It's just basically now
only going to play the one channel.

Okay, and it'll play out mono.

So now if I play this exchange it or am I.

You are in orbit of planet Q dash for 65.

B In both cases,
we should have a nice even sound coming

out of the center or the phantom center
between the two speakers.

Now that's great.

So, so far so good.

Now something else that comes up though,
as I mentioned,

what if you have different microphone
sources?

I'm going to go down to this green

clip, this lime
green clip, and zoom in a little bit.

If I play this one, I'm
going to solo that track and play it

plot, of course, to put me next to him.

If I listen to the voice,
if I listen to that sound,

and then I listen to another piece
of her sound, positive to it,

I can tell that they're different
microphones. Okay.

And so perhaps, like I said,
they're in different positions.

This first one that's in this track right
here sounds a little bit boxier to me.

So I want to get to a different
mic source.

But as you can see, this is a mono track.

So how do I do that?

Well, luckily, all of the sink channels,
all of the channels

that are included with that clip,
even if I can't see them, are still there.

They're just available
through the clip attributes.

And so I'm going to just right
click on the clip itself

and we're going to go down to clip
attributes, which is at the bottom

of that contextual menu
and then show those attributes.

And when I do that, this will show you
what the format is of the clip mono,

and it also shows you which channel
you're actually using right now.

As you can see, if I click on this,
it shows me, Wow,

I have eight channels in here
to work with eight.

Now, it doesn't mean there's sound
in all eight of those that just means

how that clip happened to be packaged
or labeled when it was used.

I'm going to cancel out of this
for a minute

and instead I want to look at that clip
attributes for the last clip.

So I'll right click on that one and choose
clip attributes

from the bottom of the list.

And when I bring this up,
you'll see this is a mono clip.

And if I look, it says embedded audio,
it only has one channel.

So depending on what your clip is,
some of them may have multiple

mike sources,
some of them may only have one.

The ADA clips are voiceover,
so they may only have one.

And in this case a million is had eight
on this particular clip.

So I'm going to go back to this one
and let's bring those attributes up again

with attributes.

And even though it's set to mono, I'm

going to look at those different channels
and I realize there's a lot more there.

I have no idea which of those channels
has the sound I want to use.

So instead of trying to guess
right here in a timeline,

I want to go back to the media pool.

Let's look at the actual clip itself.

So I'm going to cancel out of this
and just say,

okay, I'm not going to change it yet.

And instead, if I want to find this clip
somewhere in the media pool and

and see what it looks like,
I just need to right click on the clip

and choose find in media pool.

And if you choose find in media pool,
then what that will do, of course, is

exactly what it says.

It opens the media
pool, finds the clip and selects it.

And now I can see the clip right there
in my preview player.

And I see there's some sound
in Channel one.

There's sound in channels
four, five and six.

But of these eight channels,
there are four empty and there's four

that have sound.

And I can tell exactly
which channels have the sound.

Now, any time I see sound on one channel,
a few spaces or a space

and then sound on some other channels, I'm
going to guess that that first channel

is probably the mics from the set, right?

The location sound recordist probably did
a mix of the best sound at that time.

And so that's usually what people work
with Channel one

and then four or five and six
would be different.

Mike sources in this case.

So maybe there's several mikes positioned
around a million for that clip.

So I don't know exactly
which ones they are.

I can just tell by looking at that
that's most likely how that was set up.

So what I'd like to do is let's create
a timeline from this clip and investigate

a little bit further.

And this way you can see the channel
mapping right in the clip itself.

So we're going to select the clip
right here in the media pool.

It's already been selected right click.

And I want to choose

right at the top of that list.

It's create a new timeline
using the selected clip.

Any time you make a timeline from a clip
or a group of clips, it will match this

clip format and give it to you
exactly as it's set up right now.

So create new timeline with the clip.

I don't care what it's named
and I'm just going to click Create Notice.

It says it's based on selected media.

That's what I want and create.

And so what it just did was
it just made a new timeline.

There it is
with this clip shifted fit to window.

And let's make this a little bit
bigger now.

At this moment,
I really don't need my monitoring panel.

I'm going to go and hide my meters.

And that way I can focus on
what I'm working with.

I also don't need the media pool
right now.

I can always come back to that.
So I'm just going to hide the media pool.

And let's focus on this clip for a minute.

As you can see, exactly as promised,
there are the four channels of audio

within this clip.

It's the exact same clip
I was working with

in the timeline earlier,
that lime green one.

But now I can actually see
the original source material

and I can see indeed there is audio
on all of those different channels.

Now, the one thing about it is
I cannot at this moment select

the individual channels.

As you can see, I can't adjust the volume

on the individual channels
and I can't mute or solo them

because they are all connected
at this moment as one multichannel clip.

So one of the things we want to do
is we want to break these up.

Now, I have several choices here.

I could just change the format of the clip
or I could break it into a linked group.

So what I'll do is
I'll show you both methods, and that way

you can kind of see and be able to do
whatever it is you want to do.

When it comes to working
with your own material,

the first thing I'll do
is I'll convert this to a linked group,

and what that will do is will convert each
channel to its own separate mono track

and there will be a clip within that track

and all of those will be linked together.

They will also have a single fader
in the mixer.

Let's take a look.

I'm going to bring up the mixer first

so you can see over here in my mixer
I have one channel and that's it.

One track, one channel.

And as you can see right now,
it's planned for eight channels

because that's the type of clip
I have in the track header.

If I right click,

you'll notice one of my options right
there is convert to linked group

and what it will do
is it will convert this

and the top track will be
the one that you're looking at right now.

All the other tracks
will be underneath it.

So convert to linked group,

just bring this right back.

And as you can see instead of one clip
now I have eight different channels,

eight different tracks,
all of them linked together

and look at what we get in
over here in the mixer.

The mixer is still showing me
a single track,

even though they're all separate,

it's showing me a single track
with a single fader.

That's an advantage to a linked group,
if you like, working with separate mono

clips for left and right
channels on separate tracks.

However, they're linked together with a
single fader and for panning purposes.

Same thing I have here.

You can also tell, let me bring up
my meters that this is linked to because

you'll see a white bar on the left hand
side that shows they're linked together.

And also in the monitoring panel
in the top left here, you'll see this band

that shows these are all linked together
as well, meaning they will act

as if they are a single clip
even though they're on separate track.

Now, once I have that, I can individually
adjust the volume on each one.

Now, if I needed to do that.

However, I cannot disable
the different channels yet

and I cannot mute or slow them
even though they are all separate tracks.

I notice that I can't mute one
or the other.

They are all working as a single unit
at this moment,

so there's one more step I'll need to do
if I want to work with these

as individual tracks, and that is
I'm going to come up to the Fairlight menu

and go down to towards, says linked group.

That is where I'm able to bring up

the link group window and this shows me

all eight channels are linked together
if I select them.

Each one is a separate track
and I could unlink it right now.

And as you can see, it's now unlinked.

Those are now individual mono tracks.

If I look over here in my mixer,
you'll see that my mixer now

shows individual mono tracks,
one for each of these

and you can see and all of the panning,
if you look at the little pan parts

here, each,
the panning is still set for a surround

eight channel or 7.1 clip or mix.

And so I actually don't want to have
the panning the way it was set

Retaining that is very useful
if you're doing finishing work

or you want to use this for automatically
panning your items.

In this case, I want them all to

just be pan to the center
and so I can reset that very easily.

I'm going to just tighten
these up a little bit so you can see it.

I can swipe down and select
all my tracks at once.

And if I select all my tracks,
one of the things I want to do is

I just want to remove the panning.
I've said.

I just want to take away the panning
attributes basically on those tracks.

And so first I need to select them.

And again,
I just selected one and drag down

right click and I'm going to go here
to remove attributes.

Okay?

Once I remove those attributes,
I can choose

which attributes
I actually want to remove from here.

And I'm going to say
I just want to remove the pan.

Okay?

Now there's nothing else
that's been applied to these,

so technically I could remove it all,
but I'll just take the pan off

and then click apply.

And once I do that,

notice that the panning
has all gone to center for all of these.

Now, I can actually hear these plot
across.

All of them are going to be equally
balanced.

Now, I'm going to be loud,
as you may have just heard,

because it's now playing
all of them at the exact same time.

However, now I can solo them
and listen plot, of course,

to put the next to him
and I can listen to each one individually

and decide which podcast about me next,
which of these microphones I want to use.

Plot, of course,
to put me next to him. Right.

And I can make a more intelligent decision

based on what those different mikes are
so I can get there.

You just need to know how to do that.

Now, I've managed to break up that clip
into these individual parts,

and let's just assume I really want to use
I only want to keep that top channel,

the one in audio one.

Notice that when I select this clip,

if I wanted to delete any part of it,
they are still linked together.

If I select one, I get them all.

Why is that?
Because they are still linked.

It's fairly

it's trying very hard to maintain
the relationship with all of these things

because they all started
as one clip originally.

So what we're
going to do is I'm going to unfollow this

and the last thing we need to do

is turn off the linking, which you can see
with this bag in the corner.

That link badge shows
that these are acting as a single clip.

That's why I can't just select one.

So just right click.

You may have guessed this by now.

The secret is if you're looking
for something, try right clicking first.

It's probably in that contextual menu
when I turn off the linking.

And now you can see
here are the individual channels.

That's what I actually wanted.

And with those individual channels
I could then choose what I want.

I can mute independently,
I can select these,

I can delete the track,
all of the channels.

I don't have any sound in them.

I could just select and delete
very easily.

I can delete any of my empty tracks
by right clicking and choosing.

Delete empty tracks
and they're all deleted.

And now what I have left
is just the good sound.

Okay.

And would you ever need
to go through all of this trouble?

Not often, But the idea is knowing
that you can access any of your channels

any time you can change your tracks
to anything you need to when you need to,

and you can actually hide, mute, delete,
or whatever you need to do.

Now watch this.

Even though I've selected these, I'm

actually going to get rid of all of them
except for Channel one.

Go ahead and delete
those empty tracks as well.

And now I'm back to what I started with.

However, now I have one mono track with

one audio channel in it, Channel one.

And if I play this, this will be the mix
from the set podcast about me next to him.

And this is the one I most likely am
going to want to work with.

That's what we are using on the others.

So I may be done.

However, something to be aware of is
we never actually delete

any of the other channels.

So if at any time you wanted to get back
to a different channel or change it,

I could right
click right now, go into clip attributes.

It's still going to be mono,
but now I can say, you know what?

I want to change it to embed a Channel
five instead, and now it's Channel five.

Or it is.

Or I could go back in there
and change it to embedded Channel six

because that's the one I actually wanted.

And now I'm working with Embedded

Channel Six,
but of course, to put me next to him.

So at any time you can change your mind.

I can also put this back.

If for some reason

I wanted to change this to some other type
of channel configuration,

for example, within DaVinci Resolve,
we also have adaptive tracks

which are very useful
because an adaptive track will allow you

to have odd numbers of channels
or whatever number of channels

you want to up to 24 within a single track
and within a single clip.

And so if you had, let's say
you have seven channels of audio that go

into a clip or you have just three
and you want to kind of packages together,

all you have to do is make an adaptive
clip.

And I can do that right now.

I can select this clip and I can go
actually, I'll do the track first,

right click, go to change
track type and choose adaptive.

And as you can see,
I can pick anything between one and 24.

In this case, let's go with four,
because that's how many channels we have.

And now the track is set up for four.

If you're working with an adaptive track,
you'll see that

it puts the number of channels
right there in parentheses.

Now, the clip itself is not adaptive yet,
right?

It's just a mono clip sitting here,
but I can change it.

All right, click on this clip.

Go to clip attribute
and I can change it right now

from a mono clip to Adaptive four.

And I can also make it
so it's channels one,

four five and six.

Click.

Okay.

And now if I look at this, I have one

clip in one track
that has all of the channels that I need.

And one of this is really useful

is if you happen to be the editor,
when you go back to the edit page

and you notice what does the editor see,
The editor sees a single clip.

So everyone doing picture edit

may have maybe able to hear
all the different channels,

but they don't realize that they're
all in there within that same track.

And then when you get to

over to the fairly page and you're ready
to do your dialog editing,

you can break these up into separate
channels with a single convert

to link group, and then you can choose
which ones you want to keep,

which sound is best for that dialog
and continue on with your work.

So it's a very useful way to work
and at any time

you can change your clips
to a different format or your tracks

and you're never deleting
any of the channels within that clip

at any time, whether it's appended
or sent to that particular clip.

I'm going to go back to the media pool
right click

and I'm going to find in media pool.

Let's just go back to this original clip.

And one of the things you can do is
you can actually change it right here

on the clips themselves before
you ever start editing with them as well.

So I'm going to go back to the same clip
we were just working with.

Or actually let's go to a different clip.

I'll go to this one right here.

It's slightly different.

This one has just three channels.

And if I want to, I can right click
and go to my clip attributes.

And for the clip attributes on this one,
I can see that this has just three

channels of audio. One, two, three.

And they are in the two,
three and four positions.

So I can go over here and say,
I would like to make this an adaptive

three and I want it to be channels
two, three and four.

And that way those are the only things
that I'm going to get with this clip.

But in addition to that,
I could also say, you know what?

I also think I would like to have
on this particular clip

three mono tracks as well,
just to make it easier so I could do that.

I can actually add more.

So watch this right at the top.

I can say let's also add
mono tracks to the same clip.

I'll do

three because there's three channels
and I'm going to choose ADD.

And so this clip will
not only have adaptive, but will also have

three mono tracks also.

And I'll just change those 2 to 3 and four

because that's where the sound is
and click okay.

And when I do that, notice that now
it's showing me six channels of audio

because the clip has six.

If I right click and choose, create
new timeline based on selected clip, it's

going to give me exactly what I asked for.

As you can see, one clip at the top,
which is three channels

and three separate mono clips.

So you basically have the ability
to set up your clips

when your before you ever start editing
any way you want to,

whether you want to set them up
with mono channels or adapter

and just set those up
right in the timeline,

you can even select an entire bin of takes
if they've all been recorded

the same way with the same mike
configuration on the set

and you've done your dailies
and they're all synched,

you can actually select all of those
and change the clip attributes

for all of them at once to be exactly
what you want to work with before

the editor ever starts cutting picture.

And that way, when it becomes your turn,
doing your dialog,

editing or working in sound, the channel
configurations are exactly what you need.

And so what we're going to do is go back
to our multichannel dialog timeline.

I'm going to hide the media pool
and then back to the original timeline

we were working with.

If you recall, I just wanted to change
which channel I'm working with here,

so I'm going to right click on that clip.

And now that you know,
we can go to the clip attributes

and I can choose exactly which channel
I actually want to use, in this

case, embedded Channel one,
I'll click okay.

And it just changed it
to embedded Channel one.

And so now I have the sound that matches
all the others and I can work with those.

So that is how you can deal
with channel mapping

and your linked groups
and unlink them also with link clips

and be able to access exactly the channels
you want to in the timeline and set up

which microphones you're going to be using
when you're doing your dialog editing.

So thank you for watching.

And now you're all set.

Next time we need to work with channels
on your own projects.