Original subtitles

Hi, I'm Mary, and I'm here to

talk to you about Fairlight page individuals on 15.

So here we're going to take a scene that was edited and we're going to develop

the soundtrack into a fully professional quality soundtrack in audio post.

So if you're following along, you've already downloaded the project.

So let's get started.

The project's open.

One of the things we might want to do is go ahead and reset the user interface.

So under the workspace menu,

if your interface doesn't look just like mine, go ahead and click reset.

And that way it'll match what I'm working on.

Now let's talk about the interface real quickly.

This is the default interface, the main portion of the middle here.

This is all of your timeline, your audio timeline,

and this is where you have all of your clips in your tracks.

There's a ruler running across the top.

You can click anywhere on that ruler to move to that particular frame.

And of course, you can see

which frame you're on right there in the viewer at the top.

Now running

across the top of the timeline, you're going to see your monitoring panel.

I'm actually going to mute playback

for just a moment so that when I start playback here,

you can see this is where you have meters for every track in the timeline.

And you can also see I can see my video as I'm playing.

You can also resize your monitoring panel

by just dragging the left edge next to the viewer.

You can see that I can resize this any way a night too.

I can resize it any way I'd like to because as you see, we've got meters.

But I only have three tracks and three meters right now, so I can take

advantage of that real estate and make it a little bit larger.

You can also resize the screen as well by just pulling down below the viewer.

And now I have a larger viewing area that I can work with.

So it's a very flexible interface, which is great.

Now just below the monitoring panel, you'll see over on the right

we have our mixer, and the mixer is where we have a channel strip

for every track in the timeline, you can just drag

the edge, as you can see, to expand that, which is very useful.

And then here I have a channel strip for every track.

If I click on any of those right here and select them,

you'll notice that the corresponding track will also be selected.

One other thing you'll see right away is whatever track I have selected

when a clip is underneath the play head, that clip actually is highlighted as well.

So that's very useful.

I'm going to stop playback

and if I want to deselect it, just click anywhere in that gray space.

So we have our monitoring panel at the top.

We have our mixer on the side and then of course we have our timeline.

So those are the three primary areas that we'll be working with.

And then here at the top above the timeline area,

you're going to see your transport controls.

And what the transport controls have are just your basic controls

that you would use for moving your play head around.

And of course, it's everything

you would expect your play, your stop and his your record button, for example.

Now I'm going to jump back out of there.

The other thing we would use for playback is, of course,

just the national standard, which is a spacebar.

So any time you want to start

or stop, just use your spacebar as you would with any other application.

Now, if I want to jump to the home position just hit the home key

and if you want to go to the end position, just press end

and that will always take you to the last frame in your project.

So you now have a way to navigate your way around.

Let's dive in and take a look at what's actually happening in this scene.

Now. When you get a scene from editorial, first thing you want to do is evaluate

What do I have here?

To work with Everything that the editors do

when they're editing their soundtrack is very deliberate.

They have a reason for it.

So part of the job is to figure out what it is they're doing and why,

and then just to expand on that to make it sound even better.

So right now I have three tracks.

I have my dialog track here at the top, which is going to have

all the talking parts and then we have our drone track,

which is going to be

a general filler track, and then we have an effects track at the bottom.

Now one of the things that's very useful is when you're looking at tracks

and we go in and look at them a little closer is

you'll see that you have these two buttons here,

a solo button, which is the S, and then you have the mute button here.

And what those do is they allow you to listen to only specific tracks

or to mute a track so that you can evaluate individual tracks as needed.

And so that's what we're going to do right here. Dialog.

We can kind of figure out let's take a look

and listen to some of these other tracks.

So for example, if I solo this drone track,

I'm going to deselect all the tracks here by clicking the empty space.

And if I slow this and just start playback, I can hear what it is

and let me just turn off my mute so that you'll be able to hear it.

Also.

So that's just a

general drone sound and those are used as filler

for just a background sound to kind of fill in the gaps.

And it's also selling the idea that we're on a spaceship, which is useful.

One issue I'm going to have is obviously the volume levels on

this is going to be a little bit loud, so we'll deal with that in a minute.

So we have our drone track.

Let's see what this lower track is.

I'm going to solo that one and listen.

Okay, So that is medical equipment,

as you can hear it.

That's going to be the respirator sound that goes with our character who's here

on the medical equipment, which makes sense.

We would want to have some kind of respirator there.

So I get it.

Now, I notice that the editor has put a fade on that's on that clip,

which means they're trying to lower the sound, which is great.

But if I play a little bit forward, I'm going to roll through this

and just see what's happening.

If I go a little bit further, I'll see that

the respirator is still in the same room.

So it doesn't mean I want to make it go away altogether.

We're just going to lower the level of that clip when it's necessary.

So we'll do a little bit of work with that here in a second.

So let's unsullied that track and let's

go ahead and make it longer because we can.

And to extend a track,

all you need to do is just grab the edge of it and just drag.

And you notice that any time you click the tail of a clip, which is the end,

the head of the of a clip is the beginning.

And if I clip click on the tail, it will show me my handles,

which as you can see, I have plenty of handles for this clip to make it longer.

So let's go ahead and extend it so it lasts about the same length as our dialog.

And then I'm going to remove that fade.

If you look, we've got that fade here.

I can just remove that by dragging that fade handle out.

So it's probably not necessary.

If it turns out we do need to fade, we can deal with that when we get there.

One other thing while I'm here is let's go look at the end now.

And I want to zoom in a little bit just to see if we've done a clean job

when we extended this.

So let's put our play head down there towards the end and we're going to zoom

in. And to do that, we can use the Zoom controls here above the timeline.

You have to have one zoom control for horizontal zoom,

and you notice that whenever you zoom

horizontally, it's going to always put the play head in the middle,

which is great because then the clip I'm working with is right there

front and center, and I can adjust it or extend it, which is perfect.

So that is for doing horizontal zoom and then for doing vertical zoom,

it's always going to look at your selected track.

So if I select this track and I make it larger, you'll notice

that I can really blow that out and make it huge to work with

because that's the selected track using my horizontal zoom.

If you're using a three button mouse, by the way,

the shortcut would be the option key for doing horizontal zooms.

And if you hold shift

shift and get this one to work,

if you hold down the option key, it's going to do your horizontal zoom

and the shift key is going to do your vertical zoom.

So you have total control of it with your mouse if you prefer.

So let's go ahead and make this a little bit bigger.

So now that I've selected that,

I can really see each progression by looking at the waveform of

I can see the progression of that particular sound effect.

And so now I know I want to extend it

and let's let it finish out that cycle right at the end there.

And so now if I want to see, well, how does that going to sound?

I'm going to zoom use my vertical zoom to bring all the tracks back.

I'm going to click down here to the end.

And let's just hear how the end of this sound with that finished piece there, what

he says what?

And then we go to a spaceship.

So I think that's going to work just fine. Again later on.

If we decide we want to make any adjustments, you can always change it.

Let's go back to the beginning.

I hit the home key and I'm going to use the shortcut shift

Z to fit everything horizontally

into the available space on my timeline.

And before we actually go in and make any adjustments,

I do want to point out, as I said before, this was edited on the edit page.

Let's go to the edit page for just a minute.

First thing I'm going to do is let's move our play

head somewhere over that first clip.

So you just have one spot there that you're looking at

and you can see, okay, we've got our character, the very first shot.

There he is.

And then let's go to the edit page.

And when you go there, you're going to see we're on the exact same frame.

It's the same timeline. Nothing has changed.

The only thing that changes.

We actually went to the edit page and here

you can see what we actually did when it was cut together.

And if I click this horizontal line in between my video and audio, you can see

you can raise it up and now you can see the entire timeline right here.

And I can hit shift Z and I can see the exact same clips, same timeline.

As you can see, it's very uniform.

We're in the same place.

We're just looking at it from a different page.

This is where you go when you want to edit your picture and sound.

Let's go back to the Fairlight page.

This is where you work on your soundtrack,

and then in the Fairlight page you only work with your sound.

So that's perfect.

So here we are and we are ready to make a few changes.

So the first thing we have to work

on, and it's the most obvious, is our volume levels.

So we're going to start with the drone track

and let's just deal with the volume levels.

I'm going to solo that track again and when I solo that track, just click

the button there and if I start playback, we're going to focus on the sound.

And I want you to look at the meters

because you don't have to know that much

about the meters to understand how they work.

Even if you're brand new to audio mixing.

I'm going to give you a couple of clues here for your sound levels.

These levels are marked in three different zones of color,

which makes it very easy for you to see instantly

if it's too loud or too quiet to get your basic level set up.

If I start playback, you'll see and I'm going to dim the sound just for a moment.

If I look at playback on this drone, you see how it's in the red area?

We don't want a background sound ever to be in the red.

Okay?

Unless someone's standing

next to a jet engine, we don't want to have it in the red area.

The yellow area is actually where we want to have all of our dialog.

If you always mix your dialog so it's in that yellow zone,

it's going to sound good.

And then of course you finesse the levels as you go.

The Green Zone would be more for your background, sound background music.

So let's go ahead and move this down to the Green Zone now and to lower it.

We have a couple of choices.

We can select the clip itself and we can just lower the volume level of the clip.

And you notice as you raise

or lower, just click on and I'll zoom in a little bit for you.

If you just click this overlay,

you can see that I can raise or lower my levels

and the graphics will update on your waveform

so that you can see if it's louder or quieter.

You can also adjust the level of the track itself in the mixer

or right here using this field.

So you have a choice.

It's preferred if you just go ahead and change it inside of the timeline.

On the clips balance those first.

So that's what we're going to do here.

We're going to use our mixer as a guide and we're also going to bring up

one other panel, and that's our inspectors to go up to the top right.

Let's look at our inspector.

And this is very useful because the inspector allows you

to find out more information about whatever you happen to have selected.

For example,

if I select this clip, you'll notice that it shows more information about the clip.

If I select the track, it's going to show me information

about the track and allow me to make changes there.

So in this case, I just want to select the clip and let's look at the inspector.

And here it shows me the volume level.

It shows pan.

If I need to adjust the pan, I can adjust the pitch.

And there's even some icue

that you can make adjustments to if that's what you need to do.

In this case, we're just looking at the volume.

I'm going to click this reset button right here and that'll reset

the volume level of that clip since I was just messing with it.

And now what we're going to do is make the change here on the clip itself.

Now I can change it by dragging or I can change it by dragging over here

on the clip volume in the inspector so I can do it either place.

If you ever want to reset your level,

just double click on that volume overlay and it will automatically reset it.

And by the way,

when you're looking at this field, that 0.0 does not mean zero decibels.

What it means is no change has been applied to that particular field.

So it just means that no changes have applied.

And then what we change is how many decibels we've made adjustments to.

So let's come over here and I want to lower this a lot.

So I'm going to start playback and as I play that, I'm

going to bring this down until again, I don't want it in the red.

I don't want it in the yellow.

I want to bring this all the way down to the green area and there it is.

And you also want to use your ears when you're working with sound, obviously.

So you have to trust how it sounds

in addition to just making adjustments based on betas.

Okay, So they both work together.

So now that I've changed the level

of that particular clip, let's see what I set it to.

If I make it selected, I can see I'm around -13 decibels

is how much I've lowered it.

So let's do the same thing to those other clips in the track.

I'm going to hit Shift Z to fit everything to the timeline,

and then I'm just going to select all of those additional clips at one time.

And when I do that, look what happened in the inspector.

The inspector now shows that we have multiple clips selected,

and that's perfect because with multiple clips

I can then make the adjustments to all of those at one time.

So I'm going to go ahead and lower those levels to around -13, -14, anywhere

between 13 and 15,

just something that's low enough that it's not going to be stepping over my dialog.

And I've now set the levels of that particular track.

What's great is because we did not adjust the level of the fader at all.

It means I have all of this room

to adjust my fader later on when I get into mixing.

Now let's move on to this next track.

So we've dropped down and fixed the drone track.

Let's now look at this effect.

And if you remember this effect had that fade going on

by the editor, and now we're going to figure out why

that fade was there and do the same thing, but we're going to do it on the track.

And then on the clip.

So the first thing I want to do is let's reset the level of this particular clip.

Double click looks like it's set.

I notice that the level of the track has been lowered by 15 decibels.

And if I look over at the mixer, you'll see that

this fader has been lowered as well.

So in editorial they just dropped that level and that was how they dealt with it.

So let's go ahead and start by resetting that level.

Just double click on that fader to reset it and let's

just see what we're actually dealing with and then we'll make adjustments to it. So

I'm going to turn off my dim for a moment.

So I'm playing it at full volume and let's listen.

Okay?

It's it's a good sound.

It really sells the idea of this respirator that we're seeing.

However,

it's also kind of loud and it's going to be a bit annoying

and we don't need it to be annoying.

We just need it to be present and make sure that we're selling the idea

that this guy is actually under this medical equipment.

So what we'll do is we can adjust the level here on the fader

and this time we're going to do it while listening with the other tracks.

And to do that, we can just start playback.

I'm going to do mine dimmed, but you can do yours at full volume

if you're following along.

And we're going to just drag this down and lower it while we listen.

And actually, I will take off Dim for a moment and try this.

I started at the very beginning press home and I'm just going to listen

and lower that level and I'm going to watch my meters.

Let's make sure that those levels are down in the green.

So here we go.

Start playback and just lowering it.

Okay?

I want it to be subtle

here we go.

Somewhere in that ballpark is good.

So I've now lowered the level of the track by using my ears.

And notice that it also lowered it here and the fader.

So set your own levels and just watch it.

As long as I'm out of the yellow zone with that, I think I'm okay.

I can bring it down a little bit if I need to.

You can always adjust your levels.

It's not a set it and forget it kind of environment.

When you're constantly changing levels, when you're mixing or working with audio,

the idea is to keep them balanced as you go so you don't have so much work

down the road trying to just fix them and make them work together here.

They're already working so great.

We've got that part done. Next.

What we want to do is go ahead and lower it and we're going to try to achieve

what was done with that fade out.

Only we're going to do it a little bit smarter right here in audio

by adding a couple of key frames to the clip itself.

One of the thing I want to do is I'd like to see the video track.

So we're going to come up here

to the Timeline Options menu and we're going to click on that.

And in the Timeline Options menu,

you have some

choices for being able to see different elements of your timeline.

I want to just go right here to the video tracks,

and by turning that on, we'll be able to see the actual video clips.

Just click out of that menu once you're done.

And now I can see every single clip that was edited in the timeline,

all of the different tracks from my edit page,

I can actually change them, which I wouldn't want to do.

I can just see them as a reference, which is great.

When you move my play head over here to around 12 seconds

and I'm going to zoom in.

All right, So let's zoom in on our clip now.

I've got a lot going on here in my real estate,

so I'm going to I'll keep the inspector open.

But just letting you know that you can always adjust your volume

or you can always adjust your clips as you need to.

For example, right now I can collapse these clips just horizontally zoom

so they're much tighter.

These tracks,

and then I can just extend this one track by dragging

the bottom of the track header.

And now I've made this one much larger so I can focus just on the area I need

to right now.

Now, this is the area in question.

And as you can see, we go from having the character right

in the foreground to our main character.

Looking at him, walking across the screen and from the rest of the scene,

he's going to be in the background.

And so for that, we can actually just lower this level right here.

And let's use his clip when he walks across the screen as a guide.

So I'm going to move my plate here.

And if I look, I can see that there's one section there in the waveform where

we have one of those respirator, fully full respirator moves.

So let's go ahead and use that as a guide.

I'm going to option click on the volume overlay.

And when you option click, you set a keyframe right there

on that particular overlay at that moment.

And I'm going to come over here, I'm going to set a second one

on the other side of that particular respirator area.

So we're looking at this piece and now when I play that back,

these keyframes are roughly the same length as that shot.

And then what I'm going to do is I can lower the volume level

of the entire rest of the clip.

And what it's going to do is going to give me a nice gradual fade

as he's crossing the room.

And then by the time he gets to this side and we see the respirator

in the background, it will be much quieter.

Now, you can use your inspector as a guide if you want to,

to look for obvious numbers.

For me, I'm just going to listen to it and see does it work?

I want it to be present.

You want to hear the respirator?

We just don't want it to be stepping all over our dialog at any time.

If we realize it's annoying us.

If it's too loud, you can always adjust that level later.

So let's play this back.

I mean, with my playing right about here and just play this little section

and there you go.

So here you can you can hear that it's clearly still in the room,

but now we've lowered that level.

So we accomplished

what the editor had done with the fade, but we didn't remove it completely.

And now it's still working

as part of the scene because obviously, if it's in the scene and we can see it,

even if you don't see it visually in every shot, it's still there.

And when it comes to audio, when you're selling a location,

you have to make sure the sound effects are consistent throughout the scene.

So let's hit shift, see?

So we have now finished that section.

Now remember how I change the size of that track.

I can adjust that by just changing my horizontal zoom.

You notice that all the tracks now catch up and they're all the same size

again.

Let's let's now close down a few of these different panels.

I don't need my inspector right now, so you can just click that button.

I don't need the mixer right now either.

And in fact, I don't even need to see all of my monitoring panel at the moment.

I just want to see the viewer.

And if that's the case, you can just click this little button below the viewer

and it'll pop it out as an individual moving,

floating viewer that you can resize and I can even hide those meters.

And so now I'm working with my timeline however I need to to get through my job.

And in this case, I'm going to set it up

just like this and find out what else I need to do for my project.

Let me set it down here and I'm

going to hit Shift Z and notice my entire timeline fits again.

And now I can move on to what else I need to do.

Also, I don't need my video track any more, so let's hide that as well.

Go up to timeline options and just turn that off.

So now we're focused on our timeline.

We've got our levels balance pretty good.

So now we're going to look at some of these markers

across the top of the timeline.

So if you notice over here on the left hand side, we have an index.

Let's turn on our index and this is going to show you

your different tracks and also your markers.

And so I'm going to look at the markers index for a second.

Let's go into list view and in the list view of our markers.

This allows us to

if you look at the list view, this is going to give you a thumbnail

for every single marker and it's also going to give us additional information.

And these markers were created by the editorial department.

And by the way, I'm going to resize this a little bit, just grab the edge and pull

and now I can see all that information and you notice the entire interface

changes to accommodate what it is I need to do at any time, which is great.

So what I want to do is I'm going to move this color.

I want to move this particular category over to the color of the markers.

I just moved to the left and there's some of these different columns.

I don't even need that information right now.

I just want to see the name and read the notes.

So if you right click on any column header, you can just turn off

your starting your ending time code and your duration.

So now I can focus on just the elements I need.

Let's resize the name column. There you go.

And so this is a nice way

where the editorial department can leave notes or you can sit down

and you can set notes within the timeline and pass information back and forth.

And we can keep it

just like a spotting list right here in our timeline to look at.

I'm going to sort by my colors here, and I notice the purple markers

have to do with sound design.

And then we have these red markers here.

And those are have to do with things that we need to fix within the dialog tracks.

So I'd also, since we're looking at these, one thing that's come to mind,

I'd like us to actually add another marker is let's go back towards the beginning.

Just click over your play head in this empty space.

This shot at the very beginning, we have that respirator

and I know you see the respirator on him, but to me, nothing

speaks of hospital or medical equipment more than a heart monitor.

And that's a really known sound.

And I think that will that will really help sell this entire scene.

And so one of the things I'd like to do is let's set a marker for a heart monitor

to remind us to actually create one later on.

So to set a marker, just move.

You play it anywhere over that empty space where we're seeing that clip

and you can either press m the shortcut for marker or you can just come over here

to this marker area and just click on the menu,

go down, and let's just make a purple marker in this case.

There it is.

And if I want to write information in it,

just double click the marker right there in a timeline.

And let's call this heart monitor,

because we're going to create one of those from scratch.

It'll take us about 2 minutes

to record and create our own heart monitor that will be using in a little bit.

So that's just a reminder for us.

So now that we've set our markers,

let's go ahead and I'm going to sort the other direction.

And now I'm sorting through the red markers and we're going to go in there

and see some of these different elements that we were working on

for our dialog tracks, which is very useful for now though.

Let's do a couple of these short bits here for our sound design.

Let's look at the first marker here that says Suspenseful drone.

Just double click that thumbnail and it'll take the play head to that position.

And that's the first thing that we're going to do.

I don't need my index anymore for now, so I can resize it this way

if I want to make it smaller or we can just hide it.

So let's just hide our index and we're going to go into the media pool instead.

Now if you just

open up this project, you depending on what you have selected here, our master

bin is where all of the information or all of our different bins of media is.

In this case, we're going to come down to where it says SFX Sample.

And this is where we have some different

sound effects and we're going to go into our drones in atmosphere sound effects,

and this is where we're going to find something that we can add.

The instruction was suspenseful drone.

So that's what we're going to put here.

And I'm going to move my viewer over to this area for the moment.

Again, I can move it anywhere I want to whenever I need to, which is useful.

And I'm not even going to create a track fact.

I could even close this right now if I want to and come back to it later.

I'm not going to create a track.

I'm going to show you how we can have.

Fairlight will create the track for you based on your media.

So let's go through here and look.

We're looking for something called Suspenseful Drone.

I see something down at the bottom.

You can look at them in list view or icon view, and any time you select

a clip, you'll notice that it shows up right here in the preview panel.

And what's nice about the preview panel is this gives you the ability

to use your home and keys to see the beginning and end of your clips.

You can also play the clip through This is our drone.

And that's definitely a suspenseful drone, right?

I can hear that.

And you can even use your spacebar to start and stop this.

In this case, we're going to use the entire clip.

I do want to point out that there's a second suspenseful drone in there.

If you notice that one has six channels of audio.

So that's a 5.1 surround sound effect.

We don't need that for this particular shot.

So we're going to come back and use just the two channel suspenseful drone,

you know, So it shows me both channels

and we know it's going to go to this purple marker.

By the way, if you want to navigate

between your markers without going to the index,

just hold the shift key and use your up and down arrows.

And let's come over here into the timelines.

Knows I can be anywhere I want to.

And if I use my up and down arrows, it will go from marker to marker.

So let's

make sure we're on that purple marker right here in the middle.

And I'm going to bring this clip over and I could do one of two ways.

I can select it and drag it straight from the list

or I can bring it from the preview player and just drag it down and notice

that I'm going to move it to my plan and notice a new track is created for me.

And I just released this and now it's in the timeline.

It's created a track that matches and I matched it to my marker position.

So that's how easy it is to edit a clip into the timeline.

The first thing I do always when I've added new material is let's

go ahead and name that track right now, double click the name and just type drone

to and that we have two different drone tracks.

I also like to use colors on my different tracks to keep well,

keep track of them, right, but to organize them so we'll

right click and go to change track color to Navy

and that way it matches my other drone track

and I'd like to also move it up so it's with the other drone track.

So we will just right click again and choose move up.

So as you can see, it's infinitely flexible

and you have total control as to where you want

to put your clips and editing your tracks.

So now that I have this here, first thing we have to do

and you already know this is we're going to set the levels

now instead of bringing up the mixer, we should be able to do it

by just looking at this little meter right here in the track header.

So I'm going to watch it.

And it's just so low that track and listen and you see how it's in the red.

So we already know that it's too loud.

You've already been taught this, so let's bring it down quite a bit.

So if you can get that down in the Green Zone, that's pretty good.

And then you're just going to have to use your ears and trust yourself.

At some point you have to go, I know if it sounds good or not,

and you can have to trust your own ears and make adjustments accordingly.

So let's go ahead and just add a fade at the beginning and end,

and let's just play the beginning of this section.

I'm going to start at the purple marker and just play

just for a couple of seconds.

If you want to see the video and audio, let's bring up our meter

so you can see the video and just start playback.

And it'd be nice if we onslow that track.

So let's try that one more time and that kind of discrepancy.

And here comes the drone.

You died.

You see how we have that nice subtle drone?

You don't want to beat someone over the head with.

You want it to be a nice, quiet something that you just slip in there

just to add a little bit of suspension and it disappears just as easily.

At this moment, I don't know how the director wants to play this scene.

This is a scene of people talking in a room.

So it may have music, it may not have music,

but the drone will really help us on the emotional level at this point.

So there you go.

We've just added that.

Let's add one more thing.

If you notice, I've still got my media pool open.

Let's go to our index and you notice you can have your marker index

and your media pool showing at the same time, which is great.

And what we want to do is let's look at that

other marker below this that was the subtle explosion sound.

Double click that icon, and it will take our play head to that position

and we're going to add a little explosion right here where Philip says, boom.

So I'm going to now hide my

index and let's resize our tracks.

I'm just going to use my

vertical zoom there and just make these a little bit smaller so we can see them.

And we're going to add an impact sound.

If you notice,

we can go to our sound effects, look for where it says impact right here.

That's one of our categories.

And I have two different sounds that we can choose from there.

And before we do that,

instead of bringing it

just into the timeline to create its own track,

we can actually make a track ahead of time if we like.

So let's just create a track from scratch this time,

just right click in the header area and just choose Add track.

We want this to be a stereo track and there it is.

It's just created the track for us.

Let's name the track.

It's always a good idea and we'll call this Impact

and the impact.

Anytime we have a sound that's going to be an explosion

impact, something loud and and disruptive that we really need in our scene.

It can go into this track now.

So let's choose one of these two sounds.

Let's go over to our media pool.

We have a soft hit.

I'll press the home key to go to the beginning and play.

Okay, that's one.

And then let's listen to this other one.

Okay.

And these are pretty even though they seem loud on the meters,

they're not too loud.

These are nice, resonating, very low frequency

kind of sounds just to kind of sell the idea of an explosion.

So let's go with the soft hit right here.

And I'm going to drag this to my impact track and I'm going to line it up with

the marker.

There we go.

So we've just added our Sound effect.

One other thing I'd like to do is let's go ahead and color this track purple

right click and change the track color to purple.

I just happened to use purple Purple for effects.

You can use any kind of color schemes you like.

I just like to use purple for effects. That's just me.

So once we have that in there, we now have added two new tracks.

We've added a little bit of sound effects.

We've kind of built up the scene.

Let's see what we actually did.

I'm going to hide the media pool.

I'm going to zoom in a little bit, and then this time I use the command

key and plus or the equals sign and it just makes it a little bit bigger.

So I can actually see what's happening here.

Might reduce the size of these tracks a little bit

and make this one a larger because I can And as you can see,

this gives me an opportunity to see what I've actually done.

Let's move our play head back a little bit.

I'm just going to play this section. You would spacewalk.

So just 2 hours to go

boom, this explosion and it's around the whole ship.

Okay.

So that is our clip in the timeline.

Now what we want to do is maybe adjust the sound

a little bit more of this particular clip.

It's good, it's loud.

But I think I want to just punch this up a little bit differently in the story,

because I think instead of it

being part of his memory, if you notice that as we play through.

This explosion and it's around the whole ship.

Here, we actually see the explosion.

So I'd like to move this over.

And to do that, I'm going to actually bring up something new in the interface

that's very useful for matching sound effects

or different things to the picture.

So let's go back over to our timeline options

and we're going to go down here to our scroller.

And we have one video scroller we'll bring up and one of our two audio scrolls.

That's all we'll need for now.

And then just click off of that to close up that menu.

And over here you can see we now have

a filmstrip where we can actually see every single frame.

And we also have down here we can see our waveform, which is very useful.

I'm going to move my play head back to that marker so that I can see

here are the two elements, the way they're synched at the moment.

I'm going to play through this,

Okay?

And then let's go through here and notice if I drag this, what I'm really doing

is I'm just moving the play head around and what I want to do

is I want this to start on the first frame of the space ship.

So I'm actually going to double click on that frame.

My play head is now move to it, which is great.

So now that it's moved to the spot that I want it to go, I can now

not move the play head, but move the clip itself.

And one thing about moving

clips around in the timeline is if you zoom in on the clip

like I am right now, the more you zoom in, the more refined your movement will be.

So by zooming in a little more, when I drag this,

I can move at the subframe level, which is really useful.

I can really place is exactly where I want this to go.

So there I just place it because I don't actually want the clip

to start on that first frame.

I'm going to back it up a tiny bit

so that the explosion is happening right when we see the explosion on screen.

So as you can see, I've lined it up here on the timeline

and I've also lined it up down here using my scroller.

So that's what the scrolls are useful for.

And then if I want to play this section again, I'll go back to my marker

and play this one more time.

Boom, this explosion of this around the whole ship

feel skills.

Okay. So and that's working great.

So now that we've done that, I'm going to fit everything to the window

and we're going to hide our scrolls.

Those are a valuable tool when you need them, but always hide the parts,

the elements.

Any time you have something on your interface

that you don't need, it's a good idea.

Just hide it until you need it again.

That way you keep more real estate for your actual work.

So that's great.

So now we have accomplished getting some of our clips together.

We have set up our basic tracks.

I'm just resizing things a little bit here so that they all match.

And now what we're going to do is we're going to now

focus on the most important part.

90% of what we need to do is all going to be on the dialog tracks

because dialog is king.

Dialog is the most important part of our soundtrack,

if nothing else is right, as long as we have our dialog clean

and clear, you can use very little sound effects

and music and still have a good scene or the drama will still work,

but you have to do the work to make that dialog really effective.

So we're going to now focus on the dialog tracks.

Now, one of the neat things about this is we can change our interface.

Let's go back to the index and we're going to go to the track index.

And since we're going to focus on dialog tracks,

one of the things we can do is actually hide all of the other tracks.

Now, if

you didn't follow along with all of the other steps

that we've done so far, if you notice right here in this pop up menu,

and also let me hide the index and go to the media pool here

in the tutorial timelines and you'll see that I have all backup

timelines for you so that you can just go on to the next timeline.

And right here, a number to record new voiceover

and you'll have the exact same timeline I just had and you'll be caught up.

So you have that.

You can access

your timelines here in the media pool or you can also access them right here

by just using this pop up menu and find the next timeline.

So now we're back to the index.

What we're going to do

is I'm going to hide all of the tracks except for the dialog track.

We know they're there.

We know the levels are set, everything's working well.

I'm just going to come over here and notice those little eyeball

icons right here that shows your visibility for track.

If you click it on or off, you can just hide the track.

It does not meet the track. You will still hear them.

I'm just no longer

looking at them in the timeline so I can focus on the parts that I need.

Let's hide the index and then fit everything to window with Shift Z.

And now we're going to focus on these light green clips here.

These clips were created.

These were recorded on the set.

This is basically scratch voiceover or this was someone reading

it, feeding the lines to the actors, but it wasn't real talent.

So now it's time to go in there

and record the voice of this character, who is our computer.

So I'm going to just start playback and just let you hear a little bit of this

dialog and then we're going to work on replacing it

and then you do this it across.

Are you sure

it identifies.

The person I'm speaking with?

Felix Maeda Okay, so you can hear the voice.

You can tell that it's not a great recording.

It was just again, it was cut in there for timing.

We do not see the computer.

The computer is not present in this shot, so we don't have to do dialog replacement

and actually try to match up words to moving or anything like that.

We just need to record some basic voiceover into our timeline.

So first thing we need to do is let's create a track, just right click

add track.

We want to make a mono track

because it's always good to keep your dialog in mono as much as possible.

That's a single channel of audio.

When you're working with a single channel of audio, you have

more control, less chance of phasing or any other issues

with it, and we'll have a nice clean sound that we can work with.

So and let's

go ahead and name our track, double click that I'm going to call it Etta.

That's the name of the computer voiceover video.

And so

now I have my ETA voiceover track, and even though it says Audio six,

right now, we're looking at it directly below audio one or a one track.

Now one, one issue we might run into is these clips.

I'm going to zoom in and remember wherever you play here.

This is where you zoom.

So if you have it near the clips

you want to zoom into, you can see them really well.

One thing I'd like to do is we no longer need to hear these particular clips.

So if you want to disable clip, you can just select it, You can right

click on it and shoot and click this right here, which is enable clip.

If I uncheck that, I've disabled the clip, which means we won't hear it.

It's like muting it within the track.

So let's mute that first clip and I'm also going to turn it off

all the other ones as well.

So I'm going to command select those to get multiple clips at once

in the timeline I've selected the first one, let's command select

Holding Command and I've clicked each of those

and then if I want to disable them, the shortcut is just to

and I have disable that clip.

Let's do this last one over here D again and I have disable that clip.

Now, I can enable them if I want to, but I've now turned them off

so they're mute and now we can focus on replacing those with some other sound.

So for this example, I'm going to record my voice

and I'm going to show you how to set that up.

I have a USB microphone that I hooked up just for this example

that we'll use and we need to set up this track.

So once you've connected a microphone, if that's what you're using

or if you're following along at home, you can even use your built in microphone

just for this example.

So you can see how to record and patch.

Now to patch your tracks, just go up to the Fairlight menu at the top

and choose the patch input output menu.

And when you click and you go Fairlight menu, let's go to patch input output.

And when you select that, it will bring up this panel.

And this panel will allow you to, in whatever you have connected

on the left hand side as my source, it'll show inputs.

That's the default.

And I have this is this microphone record in stereo or mono.

So I'm just going to click one of the channels and this is fine.

And then I need to choose which track I want to record too.

So over here for destination, you want to make sure you choose your track input

because that way I'm saying I want to take my audio input and record it to a track.

It's a very simple stream. If you understand it.

And which track do we want to record to?

It's right here.

It's my voice, tone, voice over track.

So once that selected come down here and click Patch and you

now it shows you that this is going to be going to the end of the track.

And it also gives you the same information on the other side.

When you're finished. We can close this

and once

a track is patched, you can now go to that track and arm it.

Now, because I am in an environment where I'm wearing a mic and also have a

mic, here is I'm going to be a little bit with this one and I'm actually going

to mute my output right now just so that I don't send feedback in.

If you're listening with headphones in recording,

you won't have any issues with that.

But it's always good to be conscientious before you start working with a mic.

If I want to come over here and

arm this track, all you do is click that are button.

You'll notice

I go to my mixer that you also have the ability to arm a track right here as well.

So in either place you can arm your track that our

our button means that my mic is open and I can record.

Now I want to do one other thing with this mute That track for a second

is the one one other thing I want to do, which is unique to Fairlight

is because we are part of DaVinci Resolve

and there's a fully functioning editing editor right here on the edit page.

We actually have an advantage.

We can go over there and use titles as a script prompt,

which is exactly what we're going to do.

So let's go over to the edit page for just a minute

and when you click on the edit page, if you look, you're going to see that

right here.

I have a piece of text that's been sitting in there,

just select it

and you do the exact same thing we did with those

audio clips is we're going to enable that.

So you can either right click, enable it or we'll just select it and press D

and that just enabled it.

And now I can see my dialog on my different lines from my script.

This also works.

You can even use scrolling text if you have a really long piece

of voiceover, you can use scrolling text, you can copy and paste into that text

and then you can use it just like a teleprompter.

So it's very useful.

Now we can just jump right back over to the Fairlight page

and now I have a script I can use, which is awesome.

I'm going to pop this right

out of my monitoring panel, close my meter so I have plenty of space,

and now I'm ready to record and even have my script right here handy.

So if you're following along, feel free to try this.

I'm going to just show you the mechanism

of how we will record and then we'll jump ahead to the next section.

So I'm going to unmute this track and I'm going to come up here with my mike

and I'm just going to do a rough recording because we're not actually trying

to match anything else.

And let me solo this track

so we won't hear any of the other tracks at the same time.

I don't have to match it with anything, so I'm just going to record it in.

It doesn't matter if it lines up with anything, we can edit it later,

so I'm going to read over these lines.

It's for eighties computer voiceover and let's read through them one time.

I'm just going to click the record button when you're ready to record.

So here we go.

Amelie on a Newton. Yes.

Philip a Philip made.

I cannot explain this discrepancy.

Earth Date is March 22nd, 2103

and just hit the space bar when you're finished.

And here I can see my waveform.

There's my levels, I can adjust.

And so my first take is finished.

Now, one thing I like to do

is I'm going to right click and color this orange for no reason.

And by coloring it now, when I do a second take, I'll be able to differentiate

between my different takes and I'll show you how that works in just a second.

So let's try another take real fast.

I'll do one more here,

and if I record that, I'll just start it in roughly the same spot and read it again

immediately on a Newton. Yes.

Philip Meter.

Philip Meter I cannot explain this discrepancy.

Earth date is March 22nd, 2103

All right.

And there I finish this one.

Let's raise that level up a little bit and also adjust the color.

As you can see, it's very easy to do this and one recording will go right on

top of the other.

Each take just is going to stack up as layers inside of the same track.

And just for fun, let's do one more thing.

I just want to punch in and do one little recording right here of

just I'm going to have to say, can't we use a contraction instead of cannot?

So let's just try one last thing, which just this one line.

I'll move my play head to that spot and record that

I can't explain this discrepancy

there.

And so there's my last take notice.

All of my different takes are here.

I'm going to change the color of that one as well,

and you'll understand the colors in just a minute when we go into layers.

So here we have our different recordings,

all of them sitting on top of each other right inside the timeline.

I no longer need my microphone.

And now we can get busy and start cutting these up

and making them work with the scene

now to see the different takes, we're going to come over here.

And by the way, why don't you join me on this

and you can have the exact same recordings I have to work with.

We'll go to the next timeline,

which is number three soundtrack with video recorded.

Go ahead and open that up and you'll see it's the same timeline.

There's the recordings, and this one has the track showing

we can choose to have those showing or not.

I'm going to go ahead and hide those in my index

just like you've already seen,

and now you have the exact same thing I just was working with.

Let's zoom in a little bit.

Move your play it over this.

Zoom in just a little so you can see it better.

And there we have the three different

recordings, different colors, all sitting in the timeline

now to see the different layers at the same time.

We just go up to the View menu and turn on show audio track layers.

And by doing that now, I can see all three takes

and where they are and we can actually work with those.

And you notice that this gives me the opportunity to line up the audio

and to work with these.

I think one of the things I want to do

is I'm going to make this upper track a little bit smaller

because I don't really need

to see that now and really focus on this middle section.

You can make it as large as you want.

This is your timeline to make it as large as you want

so that you can really see those.

And one of the things we're going to do is we're just going to line up

the timeline that we're going to line up in the timeline, the different takes.

You can actually see where they're repeated. Right.

And then we're going to split them up and then move them to the right position.

So it's very to work in layers.

Now, this is all within one track, but all you do is just drag

a clip to the upper layer and that's the one you're going to hear.

If I drag this yellow one up, I'm going to hear that one.

So you always hear whichever take is above.

So right now, I'm going to listen to this first take and

let me unmute my playback so we can hear that and solo this track.

Amelia

Okay, let me try that one more time.

Emily on a new tune.

Okay, So you can hear that first take,

so you can move these around however you'd like.

Let's go ahead and stack them up yellow, orange and then apricot for a moment.

And I would like to go ahead and split these into chunks,

because now that we've got these stacked, we're going to break these

into the different parts and move them to where they belong,

because that's what we would do create our comp

or a composite of different takes

and then move the best ones to where we need them to go.

So very simple to do this, I'm going to just zoom in a tiny bit more.

So lots of space.

I can really see my waveform and let's come in here

and I'm just going to

by dragging one of these, notice how when they overlap, you can really see

where the waveforms overlap.

So I've lined these up pretty nicely

and what I want to do

is I'm just going to make a split here between these first two.

Now to split your clips or to edit those, let's first

select them by just dragging across those clips.

And once I've done that, I come up here and you have your eraser tool.

It's this one right here. It looks like a pair of scissors.

The shortcut is command B for blade.

It's easy to remember and just click that once

and I've now split the clips right here for that first section.

Let's move down and split this next one again, select the clips first and split.

Do that one more time so you can do this.

It's very just pay attention to what you're doing.

No problem.

Now, for this last bit, I'm going to try to use a different tool

to cut the next section, and we're going to actually

use the range selection tool, which is this one up here at the top.

You can see that's my range selection tool and you can get this.

The shortcut is R for range selection.

You get to your arrow tool and this one goes to arrange selection.

And what that will do is that will allow me to select a range.

So we're going to do is create a range that goes around

the apricot clip at the top as well as the others that we go.

And by selecting that range, I've now separated

all of those different takes by just this little section.

And then to split those, just grab it and pull down just a hair.

And what that did was it just split them using the boundaries of my range.

Now the range selection is very functional.

It has a lot of different uses.

This just happens to be one that's useful for editing.

So if you ever have to go into the middle of a clip and edit

something, just select it with that range selection tool.

And there you have it.

Let's go back to our Standard Area Arrow tool

and we are ready to move these around.

I'm going to hit shift Z to fit this to the window

and we'll show you a couple of methods.

Now that we've cut these into bits,

I want to show you a couple of ways to move these around.

I'm just going to make this track a little smaller

so we can see the other clips here.

And if I want to move this, one of the things we can do is just select

across both clips and manually drag those over to the new section.

Okay, That's one way.

But I want to show you, you can also do that without being in layers.

So let's go up and turn off our track Layers

Uncheck under the View menu.

Just turn off show track layers and we can also move this by just dragging.

Now, if I grab the top of this clip and move it, I'm only grabbing the top layer.

I'm going to undo that command Z and instead I'm going to just drag across

and that will select everything in that layer and then I can move that.

So I will move that.

Let's try that one more time,

drag from the middle and I can move that into position.

So the idea here

is we're going to take these stacks and we're just going to move them

slightly across and move them right where they go in the dialog.

And you can obviously see based on the disabled clips where they go

and then I'll move this one as well.

So even though I have a stack of multiple takes, I can move them around

as if they were an individual clip, as long as you understand how that works.

So now we have these all plugged in.

As you can

see, the last step would be choose whichever take you want to use.

And in this case, I like the takes that I have.

But if I wanted to change the take,

I would just go over to view show audio track layers.

Here I have my layers and let's say I want to change this one take.

I can just drag it above Phillip.

Me and then I'll be using that take instead.

So it's very simple.

Go ahead and try that on your own system if you're following along,

and then once you're happy with those, we will move on to the next step.

So once we have those set up, let's move down to the next timeline,

which is where we're going to get into our dialog editing.

I'm also going to turn off my audio track layers,

and here we have our timeline ready

to actually start with the next section, which is our dialog editing.

So we have all of the clips in place and all we did.

If you are keeping the same timeline and following along,

just go to your index and make sure all of your tracks are showing.

Okay, so we have our disabled clips above,

we have our main type dialog and we have all of these other tracks.

It's time to now focus on the most important part dialog.

Now to do that, one of the things we'll do is

we'll solo these dialog tracks in a minute.

The other thing we need to do, and this is a step you absolutely have to,

if you're doing dialog editing, if you really want your sound to be good

and it can be whether you're working with a scene for a narrative,

if you're doing an interview,

whatever happens to be scripted or unscripted, if you have multiple people

talking on screen, whether they're sharing a mic,

they have different mikes, is they all need to have their own track.

And that's just something that we need to do

so that we can treat each voice individually.

So right now we have two tracks that we can use.

We have Ada on her own voice track and we have dialog, which we can turn

into one of our character tracks. Let's add one more track.

We're just going to right click Choose, Add tracks,

and then we're going to choose.

We just need to add one track.

Let's make it below dialog.

That's fine and make sure it's a mono track and choose add tracks

and it will place it right where we want it.

Now, if you accidentally create a stereo track sometime

and you need to change it from stereo to mono, that's easy.

Just right click the track header and come down here to change track type

and you can change it. So that's not a big deal.

So now that we have three different tracks

for our three different characters, let's make sure we name these properly.

We'll go to this top track first and I'm going to change it from dialog

to a million to

and then the second track will make

for Phillip.

P h i l i p.

There we go.

Phillip So once we have our tracks made for our characters,

then comes the most important part, the next most important part, which is now

moving the clips to the associated tracks for each character.

So for example, let's bring up our meters so we can actually see the video

and we're going to start moving these clips into tracks.

Now, there's different ways that you can move the clips.

The thing you have to really focus on is as you're moving this, this is sync sound.

There are people talking with these.

You got to be careful not to shuffle them from side to side.

And luckily the Fairlight page has a lot of different ways that we can get there.

So let me show you

a few of the most common techniques for moving your clips from track to track.

Let's start with this first clip here, which is where Phillip

first enters the scene and we need to move this down

and to move this clip, we're just going to hold down the shift key.

And by holding shift, you can just drag straight down

and it will not move at all left to right.

So this will restrain the movement so that you can get it right to the track

you need.

And that's great.

It's a little bit manual, but it does get us there.

I want to zoom in a little more.

So let's just zoom in and let's look at this next shot.

And by the way, this makes sure that the clips match whoever's talking.

So this is where you see Phillip again.

So we want to move his down now.

This time, let's use a shortcut from the edit page for those of you

who might be editors.

And that's just hold down the option key and press that down Arrow

and that will automatically drop something down the track.

So we were able to move it and you can move it

multiple tracks if they're available.

So that was easy.

Now let's do one more.

We've got this clip.

Let's see it identify the okay that's familiar on it.

So we're going to keep her there. Let's move on down.

Notify the person.

Okay, That's her again. Let's see. It allows it.

And now we've got Phillip.

And I think Phillip is then zoom out a little bit.

I think Phillip is then the next few clips.

So to move multiple clips, I'm going to select this one

and I can select multiples just by command selecting like we've done before.

And then to move these down to another track, it changes horizontally.

One of the things we can also do is we can cut and we can paste,

just like you would in a word processor, the exact same shortcut you used to using.

So command C, command V, command X to cut.

So I'm actually going to command X and cut those clips.

You notice that they became ghost images and then by just selecting

the track itself, it automatically moves those into that track.

So it could be a track anywhere in that timeline and I can move to it.

And then the shortcut would be Command V and it'll paste it right into that spot.

So it's a great way to move lots of clips at one time.

So based on what I've shown you so far, let's get those last couple of clips.

Hold. Let's go.

This is his let's move that one down

and make sure now this one happens to be layered.

I'll move that down this way.

Let's get this last one.

Data a million and then he's got one.

What? What? So let's move his down.

All right, so now that we've done this work,

I'm going to actually delete the million A that we don't need.

The old ones that were recorded on the set.

You can delete those any way you want to

add something else.

I'm just selecting them and deleting them because I can.

And then what we're going to do is also color

these because it's nice again to organize your elements.

I'm going to make Amelie on a track.

Let's make her track Orange

change Track Colored Orange.

We'll make Philip's track Yellow

and we will make the computer's track.

Let's go with like beige, for example, or something like that.

And the reason her clips did not turn beige is,

if you recall, I colored the actual clips when I was recording.

And when you color a clip, it overrides whatever track color you have.

So in that case, I can select these and I can make the clip color cleared.

And by doing that, I no longer have a specific color on a clip.

It's now taking whatever track color I have.

So that does work in your favor.

For whatever purpose you have for coloring, you do have the ability

to override your track colors with clip colors.

So now we have performed what's called a checkerboard edit.

Now, if you didn't finish all of those steps or and you want to just jump ahead,

if you go to Timeline five, you'll see that

I have the exact same thing already done here.

And you have caught up.

Now this is what a checkerboard edit looks like.

This is done, like I said, in all types of video projects or film projects

is we split everybody up to their own tracks

and now they can all be treated as individual tracks and individual voices.

Now, one of the nice things about this checkerboard edit is

you can actually go in and we can zoom in and really focus on now

the sound for each track. And one of the things I like to do

is let's move to the beginning of this section.

Let's go ahead and move to

round 2120 and let's look at another way of navigation.

Instead of just manually dragging our play heads around a shortcut

that's used by editors all the time is your J, K and L keys.

You just take your right hand, put it on your keyboard, the like, place

forward, the jerky place back will stop.

And if you put them in combination, they'll move in slow motion,

forward or back so I can play forward, scrub forward, forward or back.

And if you hit them multiple times like the like I go and fast forward or back.

So they're very useful

for really scrubbing through your material and finding a particular point

in your timeline.

In this case, I am right here and we're going to

move over and listen to just a few of these elements.

I'd like to zoom in a little bit more to the timeline,

and I'm going to show you another method for playback that we have.

And let's go back to our Timeline Options menu to get there.

And we're going to turn on fixed play head, and that's the option right

there at the top that says Fix play head.

It looks like a play head with a lock. Click on that.

And what that does is it actually locks the play head in position.

And now all of the clips will scroll underneath that.

And it's very useful when you have a long timeline

so that you can really focus on what's happening.

So I'm going to start playback and we're going to listen now. To

identify the

person in front of me, a million and Newtons.

Are you sure?

Yes. Okay.

So you can just scrub the play head underneath it

and you can see that's how it works. So it's very useful.

And this way you can actually start listening to your dialog, listen to that

checkerboard edit, and you can really hear if there's an issue,

you'll catch it right away. And this is where you can

now start focusing on little issues that are in there.

You can even solo those tracks as you go.

So that's where we use the fixed play head.

I'm going to go ahead

and turn that off, go back to timeline options and select that.

We'll turn off our fixed play head for now, and we're going to work

on a couple of very specific issues that we have on our clips.

So, for example, the first thing we want to do is

remove this hum.

Now you're wondering where is the hum?

It's one of these markers that we have marked here.

I can see it right now because it's this clip that has this

giant thick signal right there if you're not sure how to find it.

We also had that marked in our index.

If you remember in the marker index, we had a marker that said remove hum.

So that's one of the things we can adjust right there.

Go ahead and zoom in on that.

So you can see right where that position is.

I'll hide my index and to remove the hum and let's

just play it first so you can really hear it.

I'm going to actually make this clip a little louder

just so you'll hear it in playback on my system.

Yours.

You'll probably hear it yourself if you have your headphones on.

The high play core.

And can you hear that little hum?

It sounds like a background sound and that's really annoying.

You're going to catch that and go, What is going on?

It's not background noise, it's

actually a hum that's right there contaminating my dialog.

So to fix that, we're going to go over here

and use one of our effects that's here in the effects library.

Just click on the effects library to get there

and we're going to go to our D Hummer effect.

And it does exactly what it says.

We're going to just take that.

And when you're working with our effects plug ins, one thing to remember is

the plug in can go on the track or it can go on a clip.

You can have unlimited plug ins on a clip.

You can have up to six per track.

In this case, it's only one clip and Phillips track that has at home.

So let's just drop it right on to Phillips clip

and then we go, I'm going to hide my effects library,

move this over again.

Just adjust as needed with your interface.

I don't need to see my meters that big.

There we go.

And this is what it looks like right now, is this is our plug in user interface.

They're different for every plug in.

Very self-explanatory.

And this sound that we're working with is a power line. Hum.

Now I'd like to make it so we can listen to this over and over.

So we're going to go back to our range selection tool.

And when you get the range selection tool, just click on that clip

and it automatically sets in and out

points around it so that we can focus on just that one section.

And I'm going to turn on looped playback as well,

which is this button right here next to the record button.

Just turn that on and when your loop playback is turned

on, we can then loop that one section and listen to it

as we're making adjustments on the plug in.

Let's go over here.

So that's for loop playback.

And what we can do is if to start the loop playback,

we're going to use the option key and the forward slash.

So that's also right here.

You can find it in over here.

This is where we play around and your loop playback is play

right in here somewhere,

which I'll find later.

So here we go.

We're going to do our loop playback.

Just option and forward. Slash.

I believe this.

Is where we can hear that section.

And then if I want to just hit this power line home,

if you're in the United States, it's going to be 60 hertz home.

If you are in Europe or elsewhere, it's going to be a 50 hertz hum.

So it helps if you can find which one.

In this case, it's 60 hertz, then I'm going to just adjust the amount.

And you notice that you can see the graphics show

that I'm adjusting that amount.

And then during playback, like here, we're just going to dial that down

until we don't hear it in Human. Cry.

When I think it's pretty good trying to stop playback.

You can also, by the way, switch these on and off by just clicking this bypass

and by turning that off and on, you can hear it with and without.

So I'm going to start loop playback again.

So that's option in the forward slash

core.

That's just without the hum remover.

You can really hear that difference.

So that's great. I'm going to close this up.

Let's go over to our inspector for a minute.

And when you're in your inspector,

if you have a clip selected, you'll see that it will show you

any of the effects that are applied to that clip.

Here it is.

So if I need to make an adjustment to that,

I can come over here and just click on that.

And that way I can see what I've done and make adjustments any time.

So just click the button right here.

That is your customizing button right there

and that will allow you to open up the interface again.

And one other thing we can do, which is kind of nice, is

if you want to see what it looks like,

as you notice, it still looks like there's an issue with this clip.

If you want to.

I'm going to go back to my error tool for a moment

is when you select a clip, one of the options you have is

you can just listen to it and you can see that

the blue gone, but you can also click on that clip

and you can choose to cache the audio effects.

So if you have several plug ins on there, maybe there there

processor, heavy plug ins and you want to just cache those.

So it's then going to play the cached version, just choose cache audio effects.

And when I do that, notice it's now showing me the exact same clip,

but now I don't see all that sound in there.

If I look over here in the inspector, it shows me a little hard drive

right there.

You also see it on the clip itself that shows that

the effects have been cached, but I can still open this up any time.

I can still make adjustments and it will automatically re cache that for me.

So notice it shows it.

It's going to re cache it once I finish monkeying around here, I close that up.

You notice that it just recast it for me

so you can still change as much as you want to.

This just really helps your processing this case.

The D home is not going to slow me down, but if I was working with more processor

intensive plug ins, I could definitely utilize the caching there

when I hide my inspector.

And so we've done that.

We have one last thing we're going to do and that will be the end of this section,

and then we're going to get into more of our dialog.

Editing is what I want to do is we're going to come over here

and we need to look at our index one more time.

The last thing we had here was replace dialog with another take

and this comes up all the time.

So let's go ahead.

And now that we've seen this, let's go to that marker.

This is what it's pointing to.

We're going to hide my index and I'm going to zoom in on this section.

You should be pretty good at zooming by now.

And let's focus on this particular clip right here.

And I'm just going to play this and let's listen.

Goodnight.

Okay.

So he says you died and this is a very serious moment.

This is probably one the most important lines of the entire scene.

And if you notice, there's a little creek in there.

It's right in the middle of his dialog.

It's not something I can really deal with.

And it's it's messing up the entire take.

And it's one of those things you could spend

some time trying to fix that, but it's better to just go in and find

the exact same words from another take and will replace them right here.

And that's what we're going to do.

So let's do this together.

First thing we'll do is I'm going to move my play

head to the end of that take right here,

and I'm going to

get my range selection tool

you don't have to use, but I'm going to show you a few features

that are built into the Fairlight page that are very useful.

Go ahead, Mark, with my range selection, too.

I'm going to mark an out point right there.

Just go for is all I need.

We're going to come over here to the media pool

and we're going to go find that clip.

And if you spill open the master bin list, you're going to come down

and you'll find a section in here for hyper

audio where it says files for repair and replace.

That's what you want.

And inside of there and we'll look at them in icon view.

It's the only clip that has video.

You'll be able to find it really easily.

There it is.

I've already kind of move the play head to the spot.

We want. Remember your Jay Canal shortcuts.

You can use those here to listen.

You guide to the take

and you can also zoom in more right here in this preview player.

You can come over here.

It's at ten X right now, but you can also go to, let's say, 30 times size.

If you really want to look at your waveform a little bit better.

And here's that clip I'm using J.

K now, and I'm going to go and mark an end point and Mark and out

there. MARTIN In and out.

They don't have to be exact.

We can fix that once we get in here into the timeline

I just want to make sure that I have that marked.

So now that it's marked, what we're going to do

is we're going to just drag this clip over to the timeline.

Instead of placing it on Phillips Track.

I'm actually going to put it on a million is track because it's empty right now.

And that way I can compare the two waveforms.

So let's go ahead and grab that here and we're just going to drag it over

and stick it and notice what it does, because I had those out in and out points

marked is it's actually showing you the range of what it is I'm bringing in.

I'm just going to line it up over top of that clip anywhere and release.

And now I have it sitting on top of the other.

Let's go to our Arrow tool and.

I'm going to raise the volume level.

One of the best ways to match your dialog is make sure that it's similar dialog

volume levels so that they will sound similar

and put my play head over this and zoom in a little bit.

I can also hide the media pool.

We don't need that right now.

So now we have a pretty focused view here and we can drag this back

and forth easily to try to line up these waveforms, which is pretty good.

One of the other things we can do is we can nudge

and if you ever want to nudge, that's just using your comma

and period keys and that moves a frame at a time

or again, you can just drag to where you need it to go.

Now, we're going to take this one step further and we're going to go

to a different editing mode and we're going to come up here.

Let's go to our timeline menu

and we're going to choose layered audio editing.

And the reason we're going to do layered audio editing is this allows

you to do audio layers even when you're editing Eclipse together.

And this is very useful because then you can put a clip on top of another

and see them both at the same time to compare the waveforms.

So let's turn on layered audio editing

and watch what happens.

By the way, right now this clip is orange because it's in Amelie on is track,

which is orange.

Let's right click this and change the clip color to green.

And the reason I want to do that is otherwise

when I drop it into the other track, it's just going to turn yellow

and I want to be able to see both waveforms at the same time,

adjust your zoom level as much as you need to to really able

to see the different waveforms.

And now I'm going to drag this down into the other track and watch

what happens when I do that.

You see that I can see both waveforms at the same time.

In layered audio mode, you can always see a transparent image

which allows me to totally line up those waveforms.

And if you're wondering what my goal is, I'm looking at the continent sounds

the wave patterns,

because I'm thinking these constant sounds where he starts the next word.

We'll see the lip movement that will match that.

And so that's why we want to make sure we line those up.

So I think I've got this pretty good.

If I'm not sure, you can always click and start

dragging again and in layers mode, you'll be able to see that.

And I think this is probably going to sound great.

So let's move back over here and play it.

You died.

It looks good to me.

So we just replaced one word that was unusable

with another line of dialog from a different take.

And as you can see,

we utilize the different tools that the Fairlight page has to offer

to really make that work. Great.

So let's save your work if you haven't done that.

And what we're going to do is we're going to this is the end of part

one of this tutorial where we really get our hands on the different parts of

the interface and just adding some tracks and making things.

In part two, we're going to go and take our dialog editing a little further.

We're going to work on balancing our levels.

We're also going to look at some other features

for mixing a little bit of sound design and finishing up our project.

So join me in part to hopefully enjoy part one and step through on your own

if you haven't done that so far. Thank you.