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These are the user uploaded subtitles that are being translated: 1 00:00:06,833 --> 00:00:07,708 Hi, I'm Mary. 2 00:00:07,708 --> 00:00:11,250 And today I'm going to show you the family page in Da Vinci Resolve 17. 3 00:00:11,458 --> 00:00:14,750 So let's get started here on the fear page. 4 00:00:14,750 --> 00:00:16,500 You'll see running across the top. 5 00:00:16,500 --> 00:00:19,500 I'll mute my playback and you will see these are our meters 6 00:00:19,666 --> 00:00:21,958 where you can check out the monitoring panel. 7 00:00:21,958 --> 00:00:23,875 You can see your control room levels, 8 00:00:23,875 --> 00:00:27,750 your loudness, and you can even see a viewer of your playback. 9 00:00:27,750 --> 00:00:31,583 As you're working across the right side, you will see your mixer, 10 00:00:31,583 --> 00:00:35,458 which will always show you all of your channel strips and your main outputs. 11 00:00:35,666 --> 00:00:37,083 And then in the middle, 12 00:00:37,083 --> 00:00:40,833 this is the timeline and this is where you have all your tracks and your clips, 13 00:00:40,833 --> 00:00:42,958 and this is where you can do a lot of your work. 14 00:00:42,958 --> 00:00:45,458 Now, right now I only have a single clip in here 15 00:00:45,458 --> 00:00:50,708 and this is actually the finished stereo mix from a short film called Hyper Light. 16 00:00:50,750 --> 00:00:55,791 And as I play this back, you'll notice that just using the spacebar will start 17 00:00:55,791 --> 00:00:58,791 and stop your playback, as you would with most applications. 18 00:00:58,916 --> 00:01:01,000 I'll go ahead and unmute that. 19 00:01:01,000 --> 00:01:03,083 Other things you might want to do for navigation, 20 00:01:03,083 --> 00:01:05,416 you'll see right here in the Middle 21 00:01:05,500 --> 00:01:07,500 Zoom, and you can see that a little better. 22 00:01:07,500 --> 00:01:11,166 These are transport controls, so you have your play and stop. 23 00:01:11,166 --> 00:01:15,583 If you wanted to use those instead, you would have them just as you would expect. 24 00:01:15,666 --> 00:01:20,666 And we also have shortcuts that you can use for navigation as well. 25 00:01:20,750 --> 00:01:23,750 So you can go to the home position by just pressing. 26 00:01:23,750 --> 00:01:26,083 The home key will always take you to the first frame 27 00:01:26,083 --> 00:01:29,125 and the end key will take you to the last premiere clip. 28 00:01:29,125 --> 00:01:31,916 So that's really easy navigation as well. 29 00:01:31,916 --> 00:01:36,000 A couple of things to think about as you're working on the Fairway pages. 30 00:01:36,208 --> 00:01:37,833 If you select a track, 31 00:01:37,833 --> 00:01:41,125 you'll notice that the clip beneath the track will always highlight. 32 00:01:41,333 --> 00:01:44,083 That shows you which track, which clip you're working with. 33 00:01:44,083 --> 00:01:46,791 And that comes in really handy when you start doing some editing 34 00:01:46,791 --> 00:01:47,958 and things like that. 35 00:01:47,958 --> 00:01:51,250 So one of the things you always want to pay attention to is 36 00:01:51,416 --> 00:01:54,375 where is your play head and what happens to be selected? 37 00:01:54,375 --> 00:01:58,208 And luckily there's a lot of visual clues to help you figure that out as you go. 38 00:01:58,416 --> 00:02:01,291 So if you look over here, like I said, I've got this track 39 00:02:01,291 --> 00:02:04,291 selected and I can tell the clip has been selected underneath it. 40 00:02:04,458 --> 00:02:08,000 If I do select the track, the clip is still beneath the play head 41 00:02:08,000 --> 00:02:11,375 and I can just find where the play it is that way as well. 42 00:02:11,458 --> 00:02:13,833 Also, if I manually select a clip, 43 00:02:13,833 --> 00:02:16,833 which I'll do it right now, you'll notice it gets a red outline. 44 00:02:16,916 --> 00:02:20,166 And what that shows you is this clip is also selected. 45 00:02:20,250 --> 00:02:21,541 So there's several different ways 46 00:02:21,541 --> 00:02:24,541 that you can tell which things have been selected at any time. 47 00:02:24,666 --> 00:02:28,250 Or if I click in an empty space, it's selected 48 00:02:28,333 --> 00:02:31,916 now which clips are selected or which tracks are selected 49 00:02:31,916 --> 00:02:36,000 come in really handy when you start doing using shortcuts and also doing 50 00:02:36,083 --> 00:02:39,083 editing, cut, copy, paste, that sort of things. 51 00:02:39,083 --> 00:02:43,333 It's very important to know where you are and what happens to be selected, 52 00:02:43,333 --> 00:02:45,875 and I'll bring that up again when we get closer to it. 53 00:02:45,875 --> 00:02:49,250 Now, one other thing that we should do, as you're getting to know the interface 54 00:02:49,250 --> 00:02:52,291 is how to zoom and move yourself around manually. 55 00:02:52,291 --> 00:02:56,250 So if I wanted to, I could just drag my head across the clips, as you can see. 56 00:02:56,458 --> 00:02:57,916 And when I do that, I can hear it. 57 00:02:57,916 --> 00:03:00,833 That's scrubbing back and forth just by dragging. 58 00:03:00,833 --> 00:03:05,750 I can also click anywhere in this ruler to move my play head to that position. 59 00:03:05,833 --> 00:03:08,000 Whenever I move my play head to a position, 60 00:03:08,000 --> 00:03:11,875 you'll notice that the timecode in upper left will update to show me 61 00:03:11,875 --> 00:03:16,541 exactly what the time code is at the point where my play head is, 62 00:03:16,625 --> 00:03:17,708 as you can see, 63 00:03:17,708 --> 00:03:20,166 and you can even change this ruler if you need to work 64 00:03:20,166 --> 00:03:22,125 in different increments and all you need to do for 65 00:03:22,125 --> 00:03:25,541 that is just right click in this timecode display area 66 00:03:25,541 --> 00:03:31,041 and you can choose to include subframes or even samples if you like. 67 00:03:31,208 --> 00:03:34,250 And if you're working in only samples or if you're working in film 68 00:03:34,250 --> 00:03:35,791 and you need to show feet in frames. 69 00:03:35,791 --> 00:03:37,375 You can also do that here. 70 00:03:37,375 --> 00:03:40,583 Just go down to where it says, you know, feet in frames. 71 00:03:40,583 --> 00:03:42,666 And now I'm looking at it that way. 72 00:03:42,666 --> 00:03:44,958 I'm going to switch it back just to standard. 73 00:03:44,958 --> 00:03:49,625 Just by using the right click right mouse button, I can go back and change that. 74 00:03:49,708 --> 00:03:53,875 Now. Contextual menus are really handy when you're working in the Fairway page, 75 00:03:53,875 --> 00:03:57,083 and any of the pages in DaVinci was also you will see me mentioning that 76 00:03:57,083 --> 00:03:59,625 quite a bit when I talk about right clicking. 77 00:03:59,625 --> 00:04:02,041 And that's just to bring up those contextual menus 78 00:04:02,041 --> 00:04:04,541 which you'll see depending on where I click, 79 00:04:04,541 --> 00:04:07,708 I'm going to get a different menu and different options. 80 00:04:07,916 --> 00:04:13,083 And so that's just another way to access different things as you go. 81 00:04:13,166 --> 00:04:13,666 I'm going to 82 00:04:13,666 --> 00:04:17,416 deselect this track right now and just press the home key 83 00:04:17,416 --> 00:04:21,125 to move to the beginning and again and key to get to the end. 84 00:04:21,375 --> 00:04:25,291 So that is just the very basics of working with one clip. 85 00:04:25,500 --> 00:04:27,791 Now let's take this a little bit further. 86 00:04:27,791 --> 00:04:29,250 Obviously, if we were to play through this, 87 00:04:29,250 --> 00:04:33,208 you'll hear that this is the entire mix of this scene. 88 00:04:33,291 --> 00:04:35,000 But I'm going to switch to a different timeline. 89 00:04:35,000 --> 00:04:36,625 And in order to do that, 90 00:04:36,625 --> 00:04:40,458 we have several ways you could you could go to this shortcut menu right here. 91 00:04:40,541 --> 00:04:43,250 And if I click on this, this will give me a list of some 92 00:04:43,250 --> 00:04:46,541 of my different recent timelines that I've worked with. 93 00:04:46,625 --> 00:04:50,666 Another option that you have is we could go over to the media pool. 94 00:04:50,750 --> 00:04:52,625 And the media pool is where you can access 95 00:04:52,625 --> 00:04:56,125 all of your media, as the name suggests and also your timelines. 96 00:04:56,333 --> 00:04:58,791 I happen to have a bin right here, and this is the list 97 00:04:58,791 --> 00:05:03,041 of all the different timelines that we'll be using for this tutorial. 98 00:05:03,125 --> 00:05:06,416 So right now we were just in the starting timeline, which was a single clip. 99 00:05:06,625 --> 00:05:10,250 Let's fast forward to take our scene 100 00:05:10,250 --> 00:05:12,958 a little bit further and I'm going to show you the stems. 101 00:05:12,958 --> 00:05:19,083 So go ahead to the next timeline and I'm going to hide my media pool again. 102 00:05:19,166 --> 00:05:21,125 And in this timeline, the difference is 103 00:05:21,125 --> 00:05:25,000 this has broken up this soundtrack into its constituent parts. 104 00:05:25,208 --> 00:05:28,208 These are your stems because every soundtrack 105 00:05:28,250 --> 00:05:29,916 all comes down to three elements. 106 00:05:29,916 --> 00:05:33,250 You have your whenever you're working your soundtrack, 107 00:05:33,250 --> 00:05:36,833 you have your dialog, you have your music, and you have your sound effects. 108 00:05:36,833 --> 00:05:42,541 And all three of those things need to be separated so that you can 109 00:05:42,625 --> 00:05:43,916 deliver those because that's 110 00:05:43,916 --> 00:05:47,500 part of your deliverables, but also for localization to other languages. 111 00:05:47,708 --> 00:05:51,666 They may need to change the music or most likely change the language. 112 00:05:51,666 --> 00:05:54,125 And so being able to pull those 113 00:05:54,125 --> 00:05:57,625 elements out is an important part of the mixing process. 114 00:05:57,625 --> 00:06:01,416 And so this is just an introduction to how those stems work. 115 00:06:01,416 --> 00:06:03,416 And it's also an opportunity to show you 116 00:06:03,416 --> 00:06:07,125 a few of the other features for working with your sound. 117 00:06:07,125 --> 00:06:12,500 So I'm going to come back into my scene right here and I'm just going to hit Shift 118 00:06:12,500 --> 00:06:17,125 Z, which is a default shortcut, which will zoom 119 00:06:17,125 --> 00:06:19,958 all of your tracks so that they fit the window, 120 00:06:19,958 --> 00:06:22,250 as you can see horizontally, which is nice. 121 00:06:22,250 --> 00:06:25,000 Now I'm going to talk about selective playback 122 00:06:25,000 --> 00:06:27,125 for a minute because when it comes to selective 123 00:06:27,125 --> 00:06:31,083 playback, right now I have my stereo mix, which is up at the top, 124 00:06:31,166 --> 00:06:35,375 plus the video stem, and that is my voice stem or dialog. 125 00:06:35,458 --> 00:06:41,458 I have my SFX, which is my sound effects STEM, and then the music stem down below. 126 00:06:41,458 --> 00:06:44,708 And it's those three parts that are really 127 00:06:44,750 --> 00:06:46,583 combined to create our mix. 128 00:06:46,583 --> 00:06:52,125 So if the thing is, if I start playback right now, just by starting playback, 129 00:06:52,125 --> 00:06:55,916 you'll notice that I'm hearing all of them at the same time. 130 00:06:56,000 --> 00:06:57,875 And that's not exactly what I want. 131 00:06:57,875 --> 00:07:01,791 If I only want to hear one of those tracks, just press right here. 132 00:07:01,791 --> 00:07:04,916 This is the solo button, and that will isolate that track. 133 00:07:04,916 --> 00:07:07,541 So that's the only one that we hear during playback. 134 00:07:07,541 --> 00:07:10,750 And now we're hearing the actual stereo mix. 135 00:07:10,833 --> 00:07:15,083 Now, one of the things you'll notice as we see this let me stop that for a second. 136 00:07:15,291 --> 00:07:18,666 I'm also going to dim my playback so it's not quite as loud. 137 00:07:18,750 --> 00:07:20,291 Over here in the top. Right. 138 00:07:20,291 --> 00:07:23,416 You'll notice that we have these monitoring controls. 139 00:07:23,583 --> 00:07:28,625 And what those do is, as you're listening level, so I can instantly mute 140 00:07:28,708 --> 00:07:32,375 or I can adjust the levels and I can also dim. 141 00:07:32,375 --> 00:07:35,000 Let me just zoom in on that so you can see it a little bit better. 142 00:07:35,000 --> 00:07:39,208 And as you can see, there's my doom that will knock it down by 15 decibels. 143 00:07:39,208 --> 00:07:43,250 And you'll notice that it turns yellow to show me that it has been dimmed 144 00:07:43,333 --> 00:07:43,791 Any time 145 00:07:43,791 --> 00:07:48,291 I press it again, it will put it back to whatever listening level I had before. 146 00:07:48,375 --> 00:07:51,500 So again, dimming the levels or you can also mute, 147 00:07:51,708 --> 00:07:53,541 but that's your entire playback. 148 00:07:53,541 --> 00:07:56,541 And in this case, I just want to solo this one track 149 00:07:56,625 --> 00:07:59,000 and I wouldn't mind making this a little bit bigger. 150 00:07:59,000 --> 00:08:01,958 And when it comes to making your tracks a little bit taller, 151 00:08:01,958 --> 00:08:06,208 you can just manually grab one track and make that larger or smaller. 152 00:08:06,208 --> 00:08:08,041 As you can see, 153 00:08:08,125 --> 00:08:09,583 if a track is selected, you 154 00:08:09,583 --> 00:08:14,041 can also zoom horizontally on that or vertically very easily 155 00:08:14,125 --> 00:08:16,166 right here is the vertical zoom slider. 156 00:08:16,166 --> 00:08:20,791 And as you can see, I can make this larger or smaller. 157 00:08:20,875 --> 00:08:23,875 Yeah, that's basically changing the height 158 00:08:24,000 --> 00:08:26,333 and when it's selected, it makes it really easy 159 00:08:26,333 --> 00:08:29,583 to see that waveform inside of that particular track. 160 00:08:29,583 --> 00:08:33,625 So these are just kind of getting to know the interface a little bit. 161 00:08:33,708 --> 00:08:36,625 Now something else, you'll notice that if I select the track 162 00:08:36,625 --> 00:08:39,625 that there is actually an outline on that waveform 163 00:08:39,666 --> 00:08:44,041 and that is one of our timeline view options that would be right up here. 164 00:08:44,041 --> 00:08:48,708 And this is just lets you choose different ways to view things. 165 00:08:48,708 --> 00:08:52,000 So as you notice that if I click on that menu, 166 00:08:52,041 --> 00:08:55,166 this will give me a few other options that I can choose. 167 00:08:55,166 --> 00:08:58,666 For example, this turns that border on and off, 168 00:08:58,750 --> 00:09:02,708 so I can choose to include the border, or I could turn that off at any time. 169 00:09:02,791 --> 00:09:04,875 I'm actually turn it off right now. 170 00:09:04,875 --> 00:09:06,041 And there's some other things 171 00:09:06,041 --> 00:09:09,458 that I will also show you as we go through this tutorial. 172 00:09:09,458 --> 00:09:13,791 So any time you want to close that menu, just click off of it and it'll go away. 173 00:09:14,000 --> 00:09:18,083 And again, that was the timeline options Timeline view Options menu, 174 00:09:18,083 --> 00:09:22,208 which is right next to your vertical and horizontal sliders. 175 00:09:22,291 --> 00:09:24,208 So let me back out. 176 00:09:24,208 --> 00:09:26,916 And so as you can see now, I can see my waveforms 177 00:09:26,916 --> 00:09:30,750 without the outline and I could play those through. 178 00:09:30,916 --> 00:09:32,875 So this is my stereo mix 179 00:09:32,875 --> 00:09:36,750 and we have the solo button, as I mentioned, but we also have mute. 180 00:09:36,750 --> 00:09:39,333 As you can see, everybody's familiar with mute. 181 00:09:39,333 --> 00:09:41,375 And so if at any time I don't want to hear a track, 182 00:09:41,375 --> 00:09:44,750 I can also click those to mute all of the other tracks. 183 00:09:44,750 --> 00:09:47,125 Or we can also swipe those 184 00:09:47,125 --> 00:09:50,916 by just swiping across the mute buttons or the solo buttons. 185 00:09:51,000 --> 00:09:53,750 So during playback at any time I can choose 186 00:09:53,750 --> 00:09:57,500 which elements I want to listen to and I'm going to do that right now. 187 00:09:57,500 --> 00:09:59,416 So I'm going to turn off my doom. 188 00:09:59,416 --> 00:10:03,750 I'm going to start early on and I'll start by just listening to the stereo 189 00:10:03,958 --> 00:10:07,500 mix and I will mute these as I just swipe those on. 190 00:10:07,583 --> 00:10:11,916 I can start playback 191 00:10:12,000 --> 00:10:12,708 and I can 192 00:10:12,708 --> 00:10:15,708 switch that off and just listen to my voice. 193 00:10:15,833 --> 00:10:18,833 This would be just the voiceover track 194 00:10:18,958 --> 00:10:20,666 if I need this one. 195 00:10:20,666 --> 00:10:21,708 This will save this. 196 00:10:21,708 --> 00:10:23,666 If I solo this, everything else goes off. 197 00:10:23,666 --> 00:10:25,583 And now I only hear the dialogs. 198 00:10:25,583 --> 00:10:26,958 Are you sure? 199 00:10:26,958 --> 00:10:27,375 Positive. 200 00:10:27,375 --> 00:10:32,458 Do it so you can slowly decide which things you want at any time. 201 00:10:32,458 --> 00:10:35,000 And so that's just giving you control of your playback. 202 00:10:35,000 --> 00:10:39,208 So again, just a nice way to not only understand 203 00:10:39,208 --> 00:10:43,041 the different elements that go to make up the soundtrack, but also ways 204 00:10:43,041 --> 00:10:46,625 that you can isolate which things you want to listen to at any given time. 205 00:10:46,625 --> 00:10:49,416 So that would be looking at your different stems. 206 00:10:49,416 --> 00:10:53,083 And it's always helpful when you're learning the mixing process 207 00:10:53,083 --> 00:10:55,791 and you're working on different tracks to understand, 208 00:10:55,791 --> 00:10:59,416 you know, listen to just the sound effects or listen to just the dialog 209 00:10:59,416 --> 00:11:02,458 and kind of feel how they all work together. 210 00:11:02,541 --> 00:11:04,375 Let's go on to the next timeline. 211 00:11:04,375 --> 00:11:05,875 We're going to kind of take this to the next step, 212 00:11:05,875 --> 00:11:06,750 and I'm going to show you some 213 00:11:06,750 --> 00:11:10,500 another thing that we really have to work with to get to the final soundtrack. 214 00:11:10,708 --> 00:11:12,833 What you were listening to those final stems 215 00:11:12,833 --> 00:11:15,500 as, We just have to start with our production dialog. 216 00:11:15,500 --> 00:11:18,416 So let's go over to before and after dialog 217 00:11:18,416 --> 00:11:21,750 because this will give you a nice idea of where we started. 218 00:11:22,000 --> 00:11:25,291 So if you look, this is the exact same scene with this, 219 00:11:25,291 --> 00:11:29,666 the sound we're listening to now, this is the actual, the raw footage. 220 00:11:29,666 --> 00:11:33,791 And as you can see, this is going to be the scene without any embellishments. 221 00:11:33,833 --> 00:11:35,416 None of the extra work has been done. 222 00:11:35,416 --> 00:11:37,208 This is just how it was on the set. 223 00:11:37,208 --> 00:11:40,500 I'm going to actually zoom in a little bit so we can 224 00:11:40,583 --> 00:11:42,208 see this a little bit better. 225 00:11:42,208 --> 00:11:45,083 This section just using my horizontal zoom. 226 00:11:45,083 --> 00:11:47,750 Now, one of the things to think about when you're using your horizontal zoom 227 00:11:47,750 --> 00:11:50,041 is it's always going to be based on the play head position. 228 00:11:50,041 --> 00:11:54,541 So I played at the beginning, so it's zooming around that spot. 229 00:11:54,625 --> 00:11:56,750 And if I were to play a little bit of this. 230 00:11:56,750 --> 00:11:58,250 It or am I. 231 00:11:58,250 --> 00:12:02,250 You'll hear this just 232 00:12:02,333 --> 00:12:03,125 that's the talking. 233 00:12:03,125 --> 00:12:07,083 And in this scene we have a male Liana who is our main character, 234 00:12:07,083 --> 00:12:08,666 and then she has a talking computer 235 00:12:08,666 --> 00:12:11,166 because as you know, in space, all computers talk 236 00:12:11,166 --> 00:12:16,166 and there's a talking computer that is helps them out and that is Ada. 237 00:12:16,375 --> 00:12:19,000 So she is a second character right now. 238 00:12:19,000 --> 00:12:21,208 This is the productions sound. 239 00:12:21,208 --> 00:12:22,250 And so what you're hearing 240 00:12:22,250 --> 00:12:25,958 is someone feeding the lines for ADA, which will then be replaced later on. 241 00:12:26,125 --> 00:12:28,958 And in fact we'll be doing some work with the ADA voice 242 00:12:28,958 --> 00:12:31,000 and some of that incarnation in a few minutes. 243 00:12:31,000 --> 00:12:33,916 So but what you'll hear is just the way 244 00:12:33,916 --> 00:12:37,500 it was recorded and the different voice that was feeding those lines. 245 00:12:37,500 --> 00:12:38,708 So these powers are. 246 00:12:38,708 --> 00:12:43,333 Sort of critical once this existence is out of date. 247 00:12:43,416 --> 00:12:44,500 So as you can see, it's 248 00:12:44,500 --> 00:12:48,000 not the most exciting thing, but the editors had enough footage 249 00:12:48,000 --> 00:12:52,083 and sound to be able to cut the scene together and move on to audio post. 250 00:12:52,166 --> 00:12:55,083 Now I'm going to zoom out a little bit here 251 00:12:55,166 --> 00:12:56,833 and I'm going to move to the next section. 252 00:12:56,833 --> 00:12:59,791 So what we have next, so you can see kind of this before 253 00:12:59,791 --> 00:13:01,750 and after and get a feel for how this works. 254 00:13:01,750 --> 00:13:04,500 Is the next shot down is this is going to be the scene. 255 00:13:04,500 --> 00:13:07,833 So we went from the footage without all of the visual effects 256 00:13:07,916 --> 00:13:10,708 to now the visual effects have been done and this is what 257 00:13:10,708 --> 00:13:13,708 the sound of the finished sound. 258 00:13:13,791 --> 00:13:14,750 Same scene in. 259 00:13:14,750 --> 00:13:22,208 Orbit of Planet 2-465. Be 260 00:13:22,250 --> 00:13:22,541 whatever 261 00:13:22,541 --> 00:13:26,000 Philip Phillips cry upon has lost power. 262 00:13:26,083 --> 00:13:29,625 Now, one of the things you can do now with Da Vinci Results 17 is at any time 263 00:13:29,625 --> 00:13:32,625 you can just press the key 264 00:13:32,875 --> 00:13:36,000 or instead of pressing p if you'd rather you can come over here 265 00:13:36,000 --> 00:13:41,083 to the workspace menu and go down to where it says Fairlight viewer 266 00:13:41,166 --> 00:13:44,791 and this is where you can make undock your viewer if you would like, 267 00:13:44,875 --> 00:13:48,500 or you can go up to the viewer mode 268 00:13:48,500 --> 00:13:52,625 and choose a cinema preview right here, the cinema viewer. 269 00:13:52,625 --> 00:13:57,875 And that would be command F If you're on a mac or 270 00:13:57,958 --> 00:14:01,166 control F if you happen to be on a PC. 271 00:14:01,166 --> 00:14:04,166 And so what that will do is they'll give you that full screen preview 272 00:14:04,166 --> 00:14:06,625 so you can actually watch and listen at the same time. 273 00:14:06,625 --> 00:14:07,375 It's critical. 274 00:14:07,375 --> 00:14:10,833 And that's just a single keystroke to get you to that. 275 00:14:10,916 --> 00:14:15,666 Hey, also by looking at our monitor, I can click the button in the lower right 276 00:14:15,666 --> 00:14:17,041 corner of the viewer 277 00:14:17,041 --> 00:14:20,375 and I can just break this out as a floating viewer at any time. 278 00:14:20,375 --> 00:14:20,916 I can move it. 279 00:14:20,916 --> 00:14:25,916 If I have a second monitor, I can move it over to that and I can resize as well. 280 00:14:25,916 --> 00:14:29,583 So that gives you a nice visual that you can work with as you go 281 00:14:29,666 --> 00:14:31,750 go and dock that again. 282 00:14:31,750 --> 00:14:34,583 And if you want to dock it at any time, you just click the button in the top 283 00:14:34,583 --> 00:14:38,583 right of your viewer and it goes right back. Now, 284 00:14:38,666 --> 00:14:41,041 so you can hear this is the finish sound. 285 00:14:41,041 --> 00:14:44,000 And then of course, at the end I have both together. 286 00:14:44,000 --> 00:14:46,708 So you can kind of do a little bit of a comparison. 287 00:14:46,708 --> 00:14:49,291 Now, one of the nice things about that 288 00:14:49,291 --> 00:14:52,291 you might have noticed is this drone sound in the background. 289 00:14:52,416 --> 00:14:57,541 The drone is like the all purpose filler, some sort of sound that just kind of help 290 00:14:57,625 --> 00:15:00,750 cover up a lot of the issues that may be going on with your soundtrack 291 00:15:00,750 --> 00:15:03,750 until you get to the point where you've done all the work. 292 00:15:03,833 --> 00:15:06,833 So when the first start is, it's very common to have 293 00:15:07,083 --> 00:15:10,000 the editorial department will put in some kind of drone 294 00:15:10,000 --> 00:15:14,875 sound or background sounds or anything they can to kind of get us to that point. 295 00:15:14,958 --> 00:15:19,458 So that's just helping sell the sound. But, 296 00:15:19,541 --> 00:15:22,875 you know, one of the things is, you know, where do you get those sounds 297 00:15:22,875 --> 00:15:24,000 and how do you make this work? 298 00:15:24,000 --> 00:15:28,458 And if you're used to working with DaVinci Resolve for editing, then you may be 299 00:15:28,541 --> 00:15:32,625 comfortable with just doing basic, you know, video and audio editing. 300 00:15:32,625 --> 00:15:35,291 But over here on the Fairlight page, we have a couple of features 301 00:15:35,291 --> 00:15:36,750 that only work on this page, 302 00:15:36,750 --> 00:15:39,875 and I'll show you right now how you can bring in some additional clips. 303 00:15:39,875 --> 00:15:42,000 If you want to add a couple of options you have. 304 00:15:42,000 --> 00:15:44,708 And let's just use this drone as the example. 305 00:15:44,708 --> 00:15:48,083 So over in the media pool and as you can see, I still have my media 306 00:15:48,083 --> 00:15:53,500 pool showing is instead of looking at the timelines, what I'm going to look at is 307 00:15:53,541 --> 00:15:54,416 the drone sounds. 308 00:15:54,416 --> 00:15:58,416 And over here I have a bin with a variety of drone sounds. 309 00:15:58,500 --> 00:15:59,583 Now, when you want to listen 310 00:15:59,583 --> 00:16:04,041 to any of these clips, we have a preview player right here up at the top. 311 00:16:04,041 --> 00:16:09,375 And so if I were to select this is ambient space drone number three. 312 00:16:09,458 --> 00:16:12,208 If I select that and start playing, 313 00:16:12,208 --> 00:16:15,333 you'll hear that's the sound of that drone. 314 00:16:15,333 --> 00:16:19,541 It's kind of a low, you know, ambient space drone. 315 00:16:19,625 --> 00:16:21,416 I have a couple of different options here. 316 00:16:21,416 --> 00:16:22,458 And then there's also a few of them 317 00:16:22,458 --> 00:16:25,916 that have a little bit of a musical element to them 318 00:16:26,000 --> 00:16:29,541 that's too much for this scene, but might be useful for something else. 319 00:16:29,541 --> 00:16:32,333 So we have a variety of drones here to go through. 320 00:16:32,333 --> 00:16:34,833 There's a suspenseful drone 321 00:16:34,916 --> 00:16:36,500 again, maybe a little bit too much. 322 00:16:36,500 --> 00:16:39,666 Now you notice all I'm doing is selecting whichever one I want to work with 323 00:16:39,833 --> 00:16:42,375 and then just hitting the spacebar to play. 324 00:16:42,375 --> 00:16:46,500 Of course, over here in the preview player, you also have, 325 00:16:46,583 --> 00:16:49,333 if you look at we also have our play button. 326 00:16:49,333 --> 00:16:53,166 We just changed my framing here. 327 00:16:53,250 --> 00:16:55,541 Maybe go you can see we have our play button 328 00:16:55,541 --> 00:17:00,000 and we also have stop as well if needed. 329 00:17:00,083 --> 00:17:02,500 And so one of the things you also have is the ability 330 00:17:02,500 --> 00:17:05,750 to change the way you view that waveform in here. 331 00:17:05,750 --> 00:17:09,833 So you can actually zoom out to maybe there's 1% 332 00:17:09,833 --> 00:17:13,500 where I see more of the waveform or I can zoom much further in 333 00:17:13,583 --> 00:17:15,875 if I need to see more detail. 334 00:17:15,875 --> 00:17:17,458 While you're looking at the preview player, 335 00:17:17,458 --> 00:17:18,833 one of the details you need to know 336 00:17:18,833 --> 00:17:23,250 is this bar running across the bottom that always represents the entire clip. 337 00:17:23,333 --> 00:17:26,000 So this is similar to what you might see in the cut page, 338 00:17:26,000 --> 00:17:30,000 where we have the upper timeline that always shows the entire timeline. 339 00:17:30,083 --> 00:17:32,500 Well, in this case, this bar here, 340 00:17:32,500 --> 00:17:34,375 this is our scrubber bar shows the entire clip. 341 00:17:34,375 --> 00:17:36,791 So that would be the first frame and that's the last frame. 342 00:17:36,791 --> 00:17:40,625 So wherever I happen to go, I always know where I am. 343 00:17:40,708 --> 00:17:43,916 I'm not going to worry about this waveform up here because that may not show me 344 00:17:43,916 --> 00:17:49,291 exactly where I am, depending on what I'm my zoom level at that time. 345 00:17:49,375 --> 00:17:51,416 Now, if we wanted to edit a few of these drones 346 00:17:51,416 --> 00:17:53,166 sounds in, I just want to point something out. 347 00:17:53,166 --> 00:17:56,083 Let's say we wanted to select three of them. Three or four of them. 348 00:17:56,083 --> 00:17:59,875 Let's say we want drone one if I or drone to if I just want to drag that 349 00:17:59,875 --> 00:18:03,041 to the timeline, I could just grab it, drag it into the timeline. 350 00:18:03,291 --> 00:18:06,541 I can put it into the track, a track that's already existing, 351 00:18:06,791 --> 00:18:11,083 or I could put it into a track below my tracks and it will automatically make, 352 00:18:11,083 --> 00:18:15,250 as you can see, a new track right there for me to work with, which is pretty cool. 353 00:18:15,291 --> 00:18:19,416 I'm going to actually undo that now, Command Z and just do 354 00:18:19,416 --> 00:18:23,208 an undo and instead of bringing in one, I'd like to bring in several at one time. 355 00:18:23,375 --> 00:18:25,500 So I want to change my 356 00:18:25,500 --> 00:18:28,500 the height here to give myself a little more real estate to look at. 357 00:18:28,750 --> 00:18:31,583 I could use this vertical 358 00:18:31,666 --> 00:18:32,958 zoom, as you can see. 359 00:18:32,958 --> 00:18:34,333 But another thing we have is 360 00:18:34,333 --> 00:18:36,916 we have a lot of functionality with a three button mouse. 361 00:18:36,916 --> 00:18:39,708 And so what I'm going to do instead is hold the shift key 362 00:18:39,708 --> 00:18:41,333 and just use that middle mouse wheel. 363 00:18:41,333 --> 00:18:44,500 And as you can see, shift and the middle mouse wheel will also 364 00:18:44,500 --> 00:18:47,791 do my vertical zoom, which is helpful. 365 00:18:47,875 --> 00:18:48,166 All right. 366 00:18:48,166 --> 00:18:48,958 So if I want to bring in a 367 00:18:48,958 --> 00:18:52,833 few of these drones at once is let's say I want to get the first one, 368 00:18:52,916 --> 00:18:54,416 let's say drone to bed. 369 00:18:54,416 --> 00:18:58,583 Plus, I also want to get the low drone, number one 370 00:18:58,666 --> 00:19:02,166 and let's do let's get another one. 371 00:19:02,250 --> 00:19:04,583 Let's do this space ambient drone. 372 00:19:04,583 --> 00:19:06,000 That sounds fun. 373 00:19:06,000 --> 00:19:09,375 And so that gives me three different drone sounds that I can work with. 374 00:19:09,375 --> 00:19:14,458 So if I want to bring those in now, if I manually drag them to an empty space, 375 00:19:14,666 --> 00:19:17,666 it will put all three next to each other in the same track. 376 00:19:17,791 --> 00:19:19,375 And I'm going to hit shift Z And as you can see 377 00:19:19,375 --> 00:19:23,041 there are all three of those now in the timeline ready to work with. 378 00:19:23,125 --> 00:19:26,458 But something that you can do here on the fly page, it's a little bit different. 379 00:19:26,666 --> 00:19:29,333 I'm going to undo that. Just command Z. 380 00:19:29,333 --> 00:19:32,666 And by the way, if you ever want to undo, that's up here in the edit menu. 381 00:19:32,666 --> 00:19:34,250 There it is. Undo. 382 00:19:34,250 --> 00:19:35,875 We even have an undo history 383 00:19:35,875 --> 00:19:38,291 in case you want to look at all the different changes you made 384 00:19:38,291 --> 00:19:42,875 and pick and choose what you want to do from that history. 385 00:19:42,958 --> 00:19:45,083 So the difference is I still have these selected 386 00:19:45,083 --> 00:19:49,000 and again, I'm just selecting one command, selecting or control selecting. 387 00:19:49,000 --> 00:19:51,000 If you're on a pick, see 388 00:19:51,000 --> 00:19:52,666 the different ones that I want to work with. 389 00:19:52,666 --> 00:19:53,791 There's my three. 390 00:19:53,791 --> 00:19:58,166 And as I drag them over, instead of dropping them into one track, 391 00:19:58,250 --> 00:20:00,458 if you hold the command key, 392 00:20:00,458 --> 00:20:03,666 it will create new tracks for you for all of the clips. 393 00:20:03,750 --> 00:20:07,208 And if I release, notice that it just made me new tracks automatically 394 00:20:07,208 --> 00:20:11,291 and each of them is now separated and ready to work with that way. 395 00:20:11,291 --> 00:20:15,750 So this is just a really useful way to grab a whole handful clips 396 00:20:15,750 --> 00:20:17,333 that, you know, you want to work with and start 397 00:20:17,333 --> 00:20:21,291 building into your sound design or your sound effects or whatever it is. 398 00:20:21,500 --> 00:20:25,125 You can just drag them all in and behold in command or control. 399 00:20:25,125 --> 00:20:30,083 If you're on a mac or PC, it will put them all individually on different tracks. 400 00:20:30,166 --> 00:20:31,500 I'm going to go ahead and undo that for now. 401 00:20:31,500 --> 00:20:34,208 But it's worth noting. 402 00:20:34,250 --> 00:20:35,416 And so 403 00:20:35,416 --> 00:20:38,750 that was the main thing with this particular timeline 404 00:20:38,750 --> 00:20:42,958 was kind of showing you the evolution of the dialog. 405 00:20:43,166 --> 00:20:44,583 Now, let's break this down a little further. 406 00:20:44,583 --> 00:20:47,333 I'm going back to the multiple timelines 407 00:20:47,333 --> 00:20:50,041 and let's go in now to look at dialog editing. 408 00:20:50,041 --> 00:20:51,208 So now it's our turn. 409 00:20:51,208 --> 00:20:55,791 Okay, So seeing what we're trying to do now, let's actually look at what the 410 00:20:55,791 --> 00:20:59,916 workflow might be and how you would do it right here in the Fairlight page. 411 00:21:00,000 --> 00:21:02,458 First thing I want to do is hide the media pool, 412 00:21:02,458 --> 00:21:05,166 and this is the scene as quick as it came from. 413 00:21:05,166 --> 00:21:08,958 Editorial I'm going to hit Shift Z to fit that to the window. 414 00:21:09,166 --> 00:21:10,583 And one of the things you'll notice across 415 00:21:10,583 --> 00:21:12,833 the bottom is there's that drone again, right? 416 00:21:12,833 --> 00:21:15,000 It's you're going to find that quite a bit. 417 00:21:15,000 --> 00:21:19,416 So if this is the scene, let's see what we actually have to work with. 418 00:21:19,500 --> 00:21:21,791 And one of the things is I don't really need 419 00:21:21,791 --> 00:21:25,083 all of this, these extra things here at the moment. 420 00:21:25,291 --> 00:21:29,333 I don't need my mixer right now so I can hide that by just clicking 421 00:21:29,333 --> 00:21:31,166 this mixture across the top. 422 00:21:31,166 --> 00:21:32,625 You'll notice there's our toolbar. 423 00:21:32,625 --> 00:21:36,083 If I just click on mixture, I can show and hide it any time. 424 00:21:36,166 --> 00:21:37,750 Same thing with our meters. 425 00:21:37,750 --> 00:21:39,375 I'm just going to hide those as well. 426 00:21:39,375 --> 00:21:41,083 But I wanted to see the viewer. 427 00:21:41,083 --> 00:21:44,625 So let's go back, bring the meters up and just click at the bottom 428 00:21:44,625 --> 00:21:49,083 so that we can bring out the viewer and then hide the meters. 429 00:21:49,083 --> 00:21:51,416 And that way I have them just like that. 430 00:21:51,416 --> 00:21:53,583 I can make this a little bit smaller if I wanted to. 431 00:21:53,583 --> 00:21:54,666 And then I have, 432 00:21:54,666 --> 00:21:59,083 you know, the workspace or the setup that I want to use at this moment. 433 00:21:59,166 --> 00:22:00,125 Okay. 434 00:22:00,125 --> 00:22:03,125 Again, I can make adjustments as needed. 435 00:22:03,333 --> 00:22:07,500 So here's my scene and across the top all of the dialog. 436 00:22:07,500 --> 00:22:09,750 And then we have this ADA test voice. 437 00:22:09,750 --> 00:22:11,666 Now I will tell you that 438 00:22:11,666 --> 00:22:14,666 this ADA test voice, who is supposed to be a computer, 439 00:22:14,833 --> 00:22:18,541 was actually made by a computer, which is great 440 00:22:18,791 --> 00:22:21,541 from an editorial standpoint to give you some timing. 441 00:22:21,541 --> 00:22:25,291 But obviously for licensing purposes and copyright and all of that, 442 00:22:25,291 --> 00:22:26,458 not such a good idea. 443 00:22:26,458 --> 00:22:29,166 So this will need to be rerecorded and replaced. 444 00:22:29,166 --> 00:22:29,750 And that's something 445 00:22:29,750 --> 00:22:33,708 we're going to do in just a minute as replace it with another recording. 446 00:22:33,791 --> 00:22:36,041 So let me just play a little bit of this scene right here. 447 00:22:36,041 --> 00:22:41,166 I'm going to start at this spot. Just start playback. Ada, 448 00:22:41,250 --> 00:22:43,125 identify the person in front of me. 449 00:22:43,125 --> 00:22:44,791 Emiliano Newton. 450 00:22:44,791 --> 00:22:47,375 Are you sure? Yes. 451 00:22:47,375 --> 00:22:49,916 You hear that voice? So that's great. 452 00:22:49,916 --> 00:22:51,208 That computer voice. 453 00:22:51,208 --> 00:22:54,208 But again, that computer voice is not one we can actually use. 454 00:22:54,291 --> 00:22:56,875 It was helpful for working with this. 455 00:22:56,875 --> 00:23:01,458 So I'm going to show you a few other features for how we can 456 00:23:01,541 --> 00:23:03,083 bring in another clip. 457 00:23:03,083 --> 00:23:04,375 We'll make ourselves a track. 458 00:23:04,375 --> 00:23:06,916 And then also, I want to hide this. 459 00:23:06,916 --> 00:23:08,625 We're going to mute that and hide it. 460 00:23:08,625 --> 00:23:11,208 So first thing is, I'm just going to go to the beginning of the timeline 461 00:23:11,208 --> 00:23:14,750 and I'd like to make another track for a different piece of voiceover. 462 00:23:14,833 --> 00:23:19,708 So let's go to the media pool and find that piece of voiceover 463 00:23:19,791 --> 00:23:23,000 and it's inside of the bin over here called VOICEOVER. 464 00:23:23,083 --> 00:23:26,458 And I have to one is the test, which is going to be the computer voice. 465 00:23:26,458 --> 00:23:27,958 It appears. To be powered down. 466 00:23:27,958 --> 00:23:29,250 That we can't use. 467 00:23:29,250 --> 00:23:33,166 And then I have this scratch vo fill up Meda, 468 00:23:33,250 --> 00:23:34,125 which is one that was 469 00:23:34,125 --> 00:23:35,791 recorded right here in Fairlight, 470 00:23:35,791 --> 00:23:37,958 and that's the one that we're going to use for now. 471 00:23:37,958 --> 00:23:40,250 And then we'll process it and make some changes to it. 472 00:23:40,250 --> 00:23:42,250 So let's bring that into the timeline. Now. 473 00:23:42,250 --> 00:23:45,250 I could choose an exact spot for it 474 00:23:45,375 --> 00:23:48,750 or we could drag it into the timeline I'm going to have is actually create a track. 475 00:23:48,958 --> 00:23:54,166 So just right click anywhere in this in the track headers and any time 476 00:23:54,166 --> 00:23:57,916 you right click there, you can choose to add a track or add tracks. 477 00:23:58,000 --> 00:24:01,500 In this case, I'm just going to add a single track, a mono track, 478 00:24:01,583 --> 00:24:04,458 and we go and it showed up at the bottom. 479 00:24:04,458 --> 00:24:07,750 So any time you want to name a track, all you do is just double 480 00:24:07,750 --> 00:24:11,458 click on the header in the name field and then you can type it. 481 00:24:11,458 --> 00:24:14,791 So in this case, a to 482 00:24:14,875 --> 00:24:17,208 scratch 483 00:24:17,208 --> 00:24:19,083 video. There we go. 484 00:24:19,083 --> 00:24:21,666 And this is where I'm going to place that sound. 485 00:24:21,666 --> 00:24:23,083 Now, over here, I'm going to take it 486 00:24:23,083 --> 00:24:26,333 and I just want to stick it somewhere in that timeline, in that track. 487 00:24:26,333 --> 00:24:28,958 So just grab the clip and drag it in. 488 00:24:28,958 --> 00:24:30,333 You'll get the entire clip. 489 00:24:30,333 --> 00:24:32,166 There it is. Okay. 490 00:24:32,166 --> 00:24:33,416 So that's a start. 491 00:24:33,416 --> 00:24:35,750 And I no longer need to be in my media pool. 492 00:24:35,750 --> 00:24:36,666 So again, hide it. 493 00:24:36,666 --> 00:24:40,041 It's always nice to keep as much real estate as you can when you need it. 494 00:24:40,250 --> 00:24:43,250 Also, I don't even need the viewer right now, so let's go ahead and hide that. 495 00:24:43,250 --> 00:24:46,083 Let's save save our space for what we need. 496 00:24:46,083 --> 00:24:49,708 And in fact, speaking of hiding things, I don't really need much of anything. 497 00:24:49,708 --> 00:24:52,250 What we're really doing is we're going to chop this up, 498 00:24:52,250 --> 00:24:56,541 this voiceover into individual pieces, and we are going to use it 499 00:24:56,541 --> 00:24:59,666 and put it in a position to replace these other clips. 500 00:24:59,875 --> 00:25:02,875 So one of the things to think about when you're doing your dialog editing is 501 00:25:02,875 --> 00:25:06,875 what is the most efficient way to get in there and perform edits 502 00:25:06,875 --> 00:25:10,666 without having to overly mouse and drag and think about it. 503 00:25:10,666 --> 00:25:14,375 It should be very fluid and fast because you could be performing thousands 504 00:25:14,375 --> 00:25:17,916 of edits at a time as you're going through and doing your dialog, editing. 505 00:25:18,000 --> 00:25:21,625 So we're going to do all of that here in a very short amount of time, 506 00:25:21,750 --> 00:25:26,666 and I'll show you the Fairlight way of doing it, using the same 507 00:25:26,666 --> 00:25:31,416 editing shortcuts that you might use on a word processor for cut, copy and paste. 508 00:25:31,625 --> 00:25:33,875 You would do the exact same things right here. 509 00:25:33,875 --> 00:25:36,958 The important thing is paying attention to how you have your selection 510 00:25:37,166 --> 00:25:40,333 and your navigation, which I'll be showing you as well. 511 00:25:40,416 --> 00:25:44,125 So one of the things I noticed though, is this came in from editorials. 512 00:25:44,125 --> 00:25:46,250 You notice that there's been some keyframes applied. 513 00:25:46,250 --> 00:25:48,291 I noticed that there's a little effects. 514 00:25:48,291 --> 00:25:49,708 So she's right here. 515 00:25:49,708 --> 00:25:52,416 There's a badge that shows that there's an effect on this. 516 00:25:52,416 --> 00:25:54,500 And one of the things I need to do is actually wipe off 517 00:25:54,500 --> 00:25:57,125 anything that anyone else may have done to these clips. 518 00:25:57,125 --> 00:25:59,041 So we're starting with them fresh, right? 519 00:25:59,041 --> 00:26:01,958 We want them to hear how they were actually recorded 520 00:26:01,958 --> 00:26:05,000 so we'll know what we can, what we need to improve. 521 00:26:05,083 --> 00:26:06,833 And that will be making those decisions. 522 00:26:06,833 --> 00:26:09,750 So for all of those assistant editors who spend a lot of time 523 00:26:09,750 --> 00:26:11,375 making this sound great, thank you. 524 00:26:11,375 --> 00:26:15,833 And now we want to just remove all of those attributes that are on those clips. 525 00:26:16,041 --> 00:26:17,916 So to do that, it's very simple. 526 00:26:17,916 --> 00:26:20,125 Just going to we're still using our Arrow tool. 527 00:26:20,125 --> 00:26:22,250 We've been in the same tool all along. 528 00:26:22,250 --> 00:26:25,791 Just click here at the beginning and just drag straight across 529 00:26:25,875 --> 00:26:26,875 all the way to the end. 530 00:26:26,875 --> 00:26:30,875 And what I've done is I've just selected all of the clips in that track. 531 00:26:30,958 --> 00:26:31,500 Okay? 532 00:26:31,500 --> 00:26:34,625 By doing that, I can then remove the attributes 533 00:26:34,625 --> 00:26:37,958 on all of those selected clips with a right click. 534 00:26:38,041 --> 00:26:42,125 Okay, So I go over here to the right click and choose Remove attributes. 535 00:26:42,208 --> 00:26:44,541 Now what makes remove attributes? 536 00:26:44,541 --> 00:26:46,416 There it is. Remove attributes. 537 00:26:46,416 --> 00:26:49,833 When you bring that up, you're going to get a separate window. 538 00:26:49,916 --> 00:26:51,166 Hey, there it is. 539 00:26:51,166 --> 00:26:52,875 And the remove attributes window. 540 00:26:52,875 --> 00:26:55,875 Here you will see you can choose to remove volume. 541 00:26:56,000 --> 00:26:58,041 I can remove plug ins or icue. 542 00:26:58,041 --> 00:27:00,750 I'm just going to remove everything by checking that box. 543 00:27:00,750 --> 00:27:01,541 Click apply. 544 00:27:01,541 --> 00:27:04,791 And now all of these are back to whatever they originally were. 545 00:27:04,958 --> 00:27:06,458 There's been no changes applied 546 00:27:06,458 --> 00:27:09,458 and that's exactly what I need for this particular functionality. 547 00:27:09,708 --> 00:27:11,458 So now we're starting from scratch. 548 00:27:11,458 --> 00:27:15,500 We can also remove the attributes on this, these middle clips as well. 549 00:27:15,500 --> 00:27:17,541 Just in case there's any applied to them. 550 00:27:17,541 --> 00:27:19,500 Just set those as well. 551 00:27:19,500 --> 00:27:20,916 Hey, now we're starting from scratch. 552 00:27:20,916 --> 00:27:22,541 The drone I'm not so worried about. 553 00:27:22,541 --> 00:27:25,500 We can leave that as is. Okay. 554 00:27:25,500 --> 00:27:29,500 And then the next thing I want to do is we know we do not need this voice, 555 00:27:29,708 --> 00:27:30,875 but we want 556 00:27:30,875 --> 00:27:33,875 I would like to set some markers to use for navigation 557 00:27:34,000 --> 00:27:37,666 to match up with those eight voice clips in the test track. 558 00:27:37,833 --> 00:27:39,208 And so I'm going to show you a little trick 559 00:27:39,208 --> 00:27:41,750 to kind of make it easier to navigate. 560 00:27:41,750 --> 00:27:44,583 You can see that using the up and down arrows will let you 561 00:27:44,583 --> 00:27:48,208 automatically navigate from clip to clip, as you can see. 562 00:27:48,291 --> 00:27:50,708 And I can easily do that. 563 00:27:50,708 --> 00:27:53,250 And it will look at every single clip and it will move me 564 00:27:53,250 --> 00:27:55,166 one at a time, up and down the timeline. 565 00:27:55,166 --> 00:27:56,500 One clip at a time. 566 00:27:56,500 --> 00:27:58,791 Well, if I eliminate all of the other clips 567 00:27:58,791 --> 00:28:01,833 except for the ones I want, then that will make it even easier for me. 568 00:28:01,833 --> 00:28:05,333 And so what we'll do is let's bring up our index, which is right here. 569 00:28:05,333 --> 00:28:08,125 This is a different window. We haven't looked at a different panel. 570 00:28:08,125 --> 00:28:12,333 And if you bring up the index, the index is like an interactive list, 571 00:28:12,416 --> 00:28:15,125 but it's much more exciting that it actually is very useful 572 00:28:15,125 --> 00:28:17,208 when we're going in and out of that index. 573 00:28:17,208 --> 00:28:21,166 Often sometimes for markers, sometimes to work with our tracks. 574 00:28:21,250 --> 00:28:24,583 And in this case, once you show the index, I want you to look at the tracks 575 00:28:24,583 --> 00:28:27,791 index and here you'll see a list of all your tracks. 576 00:28:28,000 --> 00:28:30,208 It also shows your busses as well. 577 00:28:30,208 --> 00:28:33,916 And over here you'll see the visibility of those tracks. 578 00:28:33,916 --> 00:28:35,541 So any track that I want to hide, 579 00:28:35,541 --> 00:28:38,875 I can just turn off this visibility by clicking that little eye. 580 00:28:39,041 --> 00:28:41,416 And you notice that it disappears from the timeline. 581 00:28:41,416 --> 00:28:43,000 It also disappears in the mix there. 582 00:28:43,000 --> 00:28:43,583 But guess what? 583 00:28:43,583 --> 00:28:44,333 It's still there. 584 00:28:44,333 --> 00:28:46,666 It's just hidden at this moment. 585 00:28:46,666 --> 00:28:51,083 Now, when you hide the visibility, it does not actually mute it or solo it. 586 00:28:51,083 --> 00:28:52,750 It's just hiding it. 587 00:28:52,750 --> 00:28:56,750 So if you actually don't want to hear it, you could also mute it at the same time. 588 00:28:56,833 --> 00:28:58,666 In this case, I just want to hide that. 589 00:28:58,666 --> 00:29:00,375 I also would like to hide the drone. 590 00:29:00,375 --> 00:29:04,041 And so now I only have this clipped showing that's pretty easy. 591 00:29:04,208 --> 00:29:05,708 And by the way, the tracks 592 00:29:05,708 --> 00:29:09,500 index is also where you can move tracks around if you like as well. 593 00:29:09,583 --> 00:29:11,458 So in fact, let's move a track. 594 00:29:11,458 --> 00:29:13,708 Let's take our scratch view. 595 00:29:13,708 --> 00:29:15,500 I'm going to bring back that drone for just a minute 596 00:29:15,500 --> 00:29:16,916 and let's take the scratch view 597 00:29:16,916 --> 00:29:20,791 and just grab just click anywhere on that bar right there. 598 00:29:20,875 --> 00:29:24,083 And I just want to move it up so it's above the drone track. 599 00:29:24,083 --> 00:29:29,291 And as you can see, I just re-ordered those tracks by using the index 600 00:29:29,375 --> 00:29:32,041 now hiding things that hide that drone. 601 00:29:32,041 --> 00:29:36,416 And so now the only clips I'm seeing are these five plus that last one on the end. 602 00:29:36,541 --> 00:29:39,958 And now I can use those with my up and down arrows, as you can see, 603 00:29:39,958 --> 00:29:43,916 to quickly move up and down the timeline, which is helpful. 604 00:29:43,916 --> 00:29:44,833 Right. 605 00:29:44,833 --> 00:29:46,041 It's even going to get better. 606 00:29:46,041 --> 00:29:47,666 I'd like to set markers here. 607 00:29:47,666 --> 00:29:51,125 Now, the markers, it's just going to be a little like a Post-it note, right? 608 00:29:51,125 --> 00:29:53,833 I can put information in and I can use the colors. 609 00:29:53,833 --> 00:29:55,000 It's something that I can draw 610 00:29:55,000 --> 00:29:59,000 attention to if I'm communicating with other team members at the same time. 611 00:29:59,083 --> 00:30:03,083 In this case, I just want to press em once and that will set a marker. 612 00:30:03,083 --> 00:30:05,250 I'm going to zoom in a little bit 613 00:30:05,333 --> 00:30:08,333 and the Zoom Shortcuts command and the equals or minus 614 00:30:08,458 --> 00:30:11,083 or of course I could use my horizontal zoom, 615 00:30:11,083 --> 00:30:13,416 and in this case I've set a marker right there. 616 00:30:13,416 --> 00:30:15,291 I'll just leave it blue for the moment. 617 00:30:15,291 --> 00:30:18,291 And if I press the down arrow, it goes to the end of that clip 618 00:30:18,333 --> 00:30:21,416 and then the beginning of the next clip I'll press am again. 619 00:30:21,541 --> 00:30:24,083 It's now marking that and so I'm just going to walk down here 620 00:30:24,083 --> 00:30:28,541 and quickly set markers for each of these because these markers will give us 621 00:30:28,791 --> 00:30:34,250 something we can navigate to easily for when we start placing those other clips. 622 00:30:34,291 --> 00:30:35,666 So I'm just using that as a guide. 623 00:30:35,666 --> 00:30:38,625 Plus it's always nice to know how to set markers. 624 00:30:38,625 --> 00:30:42,250 Now any of these markers, you can also add information, you can double click them, 625 00:30:42,416 --> 00:30:47,208 you can add colors or change the colors and give them names and so on. 626 00:30:47,208 --> 00:30:49,625 We'll work more with those later. 627 00:30:49,708 --> 00:30:52,041 Just showing that I'm going to hit shift Z So now 628 00:30:52,041 --> 00:30:56,166 I can see all of those different markers and I can use those to navigate with. 629 00:30:56,250 --> 00:30:59,541 And the interesting thing about markers is if you ever use 630 00:30:59,666 --> 00:31:02,458 hold the shift key while using your up and down arrows, 631 00:31:02,458 --> 00:31:06,833 that's going to let you walk up and down the timeline from marker to marker. 632 00:31:06,833 --> 00:31:11,250 No matter how many tracks you have, no matter how many clips you're navigation 633 00:31:11,250 --> 00:31:15,750 will now only focus on the markers if you're holding the shift key. 634 00:31:15,833 --> 00:31:17,708 And so that's very useful as well. 635 00:31:17,708 --> 00:31:20,208 Now, what are we going to do with this clip? 636 00:31:20,208 --> 00:31:23,125 Well, it's time for us to look at using another tool. 637 00:31:23,125 --> 00:31:27,000 I'd like to actually dice this up into smaller pieces and then move them. 638 00:31:27,000 --> 00:31:30,250 So that's a good opportunity for us to just see how that works 639 00:31:30,250 --> 00:31:32,875 and how the tools work here in the Fairlight page. 640 00:31:32,875 --> 00:31:34,791 Now, if you're familiar with the edit page, 641 00:31:34,791 --> 00:31:37,791 maybe you grab a blade tool and do things or using shortcuts 642 00:31:38,000 --> 00:31:41,000 here, we can do that as well, but we'll use our play head 643 00:31:41,000 --> 00:31:43,583 kind of as a guide as we go. 644 00:31:43,583 --> 00:31:46,583 And something else we're going to leverage is we're going to click 645 00:31:46,708 --> 00:31:50,250 and make sure we select that track, because by selecting the track 646 00:31:50,333 --> 00:31:54,375 option in the middle mouse, we we'll zoom horizontally and shift 647 00:31:54,375 --> 00:31:56,583 in the middle mouse. We will zoom vertically. 648 00:31:56,583 --> 00:32:00,250 And as you can see, I'm able to make this nice and big so I can really see it. 649 00:32:00,333 --> 00:32:03,333 And I want to dice this up while I'm playing it, 650 00:32:03,500 --> 00:32:05,708 which is a little exciting, right? 651 00:32:05,708 --> 00:32:09,166 So I could go in there and manually 652 00:32:09,250 --> 00:32:10,208 make it back to the beginning. 653 00:32:10,208 --> 00:32:11,458 I could go in there manually 654 00:32:11,458 --> 00:32:15,291 and just grab the scissor towards the razor is what it really is. 655 00:32:15,500 --> 00:32:16,875 If I grab that Razer tool, 656 00:32:16,875 --> 00:32:20,625 it's going to cut whatever I have selected at the play head position. 657 00:32:20,708 --> 00:32:23,541 Well, instead of using that, we could use a shortcut. 658 00:32:23,541 --> 00:32:26,541 And the shortcut is command B for blade. 659 00:32:26,750 --> 00:32:29,541 And so as long as this is selected, 660 00:32:29,541 --> 00:32:32,125 it will only cut that particular clip. 661 00:32:32,125 --> 00:32:35,000 Now, if I had other clips in the timeline, 662 00:32:35,000 --> 00:32:38,458 I'm going to bring back my drone for just a minute so you can see 663 00:32:38,541 --> 00:32:41,750 if I don't have anything selected and I press command 664 00:32:41,750 --> 00:32:45,666 B Do you notice that it's going to slice everything? 665 00:32:45,750 --> 00:32:48,541 So that's going to split every single clip beneath the play head, 666 00:32:48,541 --> 00:32:49,666 which is not what I want. 667 00:32:49,666 --> 00:32:52,333 So command Z to undo that. 668 00:32:52,333 --> 00:32:55,250 I'm going to go back to the beginning and that's what I was saying. 669 00:32:55,250 --> 00:32:57,416 Track selection actually does matter. 670 00:32:57,416 --> 00:32:59,583 And as you can see, we just did that. 671 00:32:59,583 --> 00:33:03,083 So I'm back at the beginning and my track is selected, which automatically 672 00:33:03,083 --> 00:33:07,125 selects the clip beneath our play head on the selected track, which is great. 673 00:33:07,208 --> 00:33:10,125 And then as I play, I'm just going to hit Command B 674 00:33:10,125 --> 00:33:13,791 every time I pass one of these phrases and that will chop it up. 675 00:33:13,791 --> 00:33:16,541 And I can do that right on the fly. 676 00:33:16,625 --> 00:33:18,083 And so that's what I'm going to do right now. 677 00:33:18,083 --> 00:33:21,583 So Amelie on a new tune. 678 00:33:21,666 --> 00:33:26,500 Yeah, which I'm just hitting Command B fill up mater. 679 00:33:26,541 --> 00:33:29,541 I cannot explain this discrepancy. 680 00:33:29,708 --> 00:33:31,416 Birth date. Here you go. 681 00:33:31,416 --> 00:33:34,375 And so right there on the fly, I could do that very quickly. 682 00:33:34,375 --> 00:33:39,333 And now I can move these into position as needed to those markers. 683 00:33:39,333 --> 00:33:42,750 And so a lot of different ways that we can split those up. 684 00:33:42,750 --> 00:33:44,500 This just happened to be one of them. 685 00:33:44,500 --> 00:33:48,541 But like I said, it's very easy to work with these things on the fly 686 00:33:48,625 --> 00:33:51,375 and hide that drone track again because I don't need it. 687 00:33:51,375 --> 00:33:53,291 And then if I want to snap these in a position, 688 00:33:53,291 --> 00:33:56,958 I can just drag them over to those marker positions. 689 00:33:56,958 --> 00:34:00,333 If I wanted to zoom out a little bit more 690 00:34:00,416 --> 00:34:04,250 and I can see there's that last marker and that's where I want this clip to go. 691 00:34:04,250 --> 00:34:05,666 So I'll just move this over there. 692 00:34:05,666 --> 00:34:08,666 It's in position, just using those markers as a guide 693 00:34:08,750 --> 00:34:11,750 so that I could have all of my other tracks showing 694 00:34:11,916 --> 00:34:14,541 and it will not interfere with me placing these tracks 695 00:34:14,541 --> 00:34:18,000 because or these different clips in the track. 696 00:34:18,083 --> 00:34:21,000 And again, we can manually drag these clips 697 00:34:21,000 --> 00:34:25,000 wherever we need them to go from one marker to the next. 698 00:34:25,041 --> 00:34:28,791 Keep in mind, as you zoom horizontally, it's always looking at what your 699 00:34:28,791 --> 00:34:32,791 where your play head is, not what happens to be selected. 700 00:34:32,875 --> 00:34:35,083 So I'd like to 701 00:34:35,166 --> 00:34:36,041 go ahead and take 702 00:34:36,041 --> 00:34:39,250 clip here and zoom in a little bit. 703 00:34:39,250 --> 00:34:42,833 I'm going to select that clip and I want to move it into position 704 00:34:42,833 --> 00:34:47,000 so I can just manually drag that to a marker and line these up. 705 00:34:47,000 --> 00:34:49,583 And of course, I have the other clips as a guide as well. 706 00:34:49,583 --> 00:34:53,833 You can even cut, copy and paste these into position as well. 707 00:34:53,916 --> 00:34:58,625 So for example, I might as well show you how to do cut and paste 708 00:34:58,708 --> 00:35:03,250 is if I were to select this clip, I could right click and choose cut. 709 00:35:03,291 --> 00:35:06,166 There it is. Cut or command 710 00:35:06,166 --> 00:35:09,833 on a mac control x if you're on a PC. 711 00:35:09,916 --> 00:35:12,208 If I cut that, you notice that it just cut that clip. 712 00:35:12,208 --> 00:35:14,916 It gave me a ghost image of that clip. 713 00:35:14,916 --> 00:35:15,958 And why would I do that? 714 00:35:15,958 --> 00:35:19,583 Because now I can just navigate to the marker and when I get there. 715 00:35:19,583 --> 00:35:24,666 Paste Because any time you cut something, it is remains 716 00:35:24,750 --> 00:35:27,208 connected in the same relationship to that play. 717 00:35:27,208 --> 00:35:31,416 Head So any movement of the play head, the clipboard version goes with it. 718 00:35:31,500 --> 00:35:33,125 So I have cut that clip. 719 00:35:33,125 --> 00:35:36,125 I'm going to use shift down Arrow to walk my player head down 720 00:35:36,125 --> 00:35:39,125 to where I want it to go and command V to paste. 721 00:35:39,291 --> 00:35:40,416 I'm going to go back up, 722 00:35:40,416 --> 00:35:43,875 go back to where it was before, just using my up and down arrows. 723 00:35:43,875 --> 00:35:45,833 I'll go to the home position, even 724 00:35:45,833 --> 00:35:49,416 notice I'm walking up and down between clips just using up and down. 725 00:35:49,500 --> 00:35:53,250 That clip is selected, ready to go, Command X to cut it, 726 00:35:53,333 --> 00:35:57,250 shift down arrow to get to my marker and paste Command V 727 00:35:57,416 --> 00:36:00,416 And so I can do this really, really quickly. 728 00:36:00,625 --> 00:36:03,333 It's just getting to know 729 00:36:03,416 --> 00:36:04,250 the software. 730 00:36:04,250 --> 00:36:07,208 So again, with a selected track, this really works great. 731 00:36:07,208 --> 00:36:10,916 If I don't have that track selected notice when I go over top of the clip, 732 00:36:10,916 --> 00:36:12,291 it is not selected 733 00:36:12,291 --> 00:36:16,000 and therefore I have to actually physically go in there and click it. 734 00:36:16,000 --> 00:36:19,916 So be aware selection helps and that's one of the reasons we have that. 735 00:36:20,083 --> 00:36:25,125 This also works great on our consoles, like the one behind me to show you. 736 00:36:25,208 --> 00:36:29,458 And you can use then the Django or the search style to grab your clips 737 00:36:29,458 --> 00:36:32,458 and move them around really fluidly, just like we're doing here. 738 00:36:32,583 --> 00:36:35,541 So command X for this last one, moving it 739 00:36:35,541 --> 00:36:38,833 to the marker and paste and I'm going to go back 740 00:36:38,916 --> 00:36:43,458 to my home position, Command X, and I'll move the last one and paste. 741 00:36:43,458 --> 00:36:47,000 And so I was able to cut those up and put them into position 742 00:36:47,000 --> 00:36:50,083 just using a few of the other features that we have 743 00:36:50,166 --> 00:36:55,000 in the family page that you may not use when you're working in picture editing 744 00:36:55,083 --> 00:36:57,375 or on the edit page. 745 00:36:57,375 --> 00:37:01,666 So now that I've put these into position, I no longer need this track, right? 746 00:37:01,666 --> 00:37:02,333 It is tracks. 747 00:37:02,333 --> 00:37:05,708 I'm going to just mute that track and then let's hide it. 748 00:37:05,708 --> 00:37:06,500 I'm going to come over here 749 00:37:06,500 --> 00:37:10,166 and I'm going to hide that test track right there, the test voice. 750 00:37:10,375 --> 00:37:14,416 And so now when I play this back and I'll just start back here, the voice, 751 00:37:14,500 --> 00:37:17,708 the new voice should be replacing the one that I had there before. 752 00:37:17,708 --> 00:37:20,375 Let's test it 753 00:37:20,375 --> 00:37:23,041 and let's go ahead and bring up our meters so we can see. 754 00:37:23,041 --> 00:37:24,958 Identify the person in front of me. 755 00:37:24,958 --> 00:37:26,625 Amelia, on a new tune. 756 00:37:26,625 --> 00:37:27,791 Are you sure? 757 00:37:27,791 --> 00:37:30,291 Yes. Okay. 758 00:37:30,291 --> 00:37:31,500 And there it is. 759 00:37:31,500 --> 00:37:34,166 So, by the way, that voiceover recording was done 760 00:37:34,166 --> 00:37:38,583 just right here in Fairlight using a microphone. So 761 00:37:38,666 --> 00:37:40,000 very easy to do. 762 00:37:40,000 --> 00:37:40,500 That's a 763 00:37:40,500 --> 00:37:44,750 little bit of our cutting and pasting and navigation within a single track. 764 00:37:44,958 --> 00:37:47,333 Let's look at now taking it to the next step. 765 00:37:47,333 --> 00:37:48,958 When you are working with dialog editing. 766 00:37:48,958 --> 00:37:53,291 The other key is you need to separate every single voice to their own track. 767 00:37:53,541 --> 00:37:54,958 Right now we have two tracks. 768 00:37:54,958 --> 00:38:00,333 One is General Purpose Dialog, which is both a million and up, 769 00:38:00,500 --> 00:38:03,083 and then we have our scratch voiceover below. 770 00:38:03,083 --> 00:38:05,750 So one of the things we have to do is add another track. 771 00:38:05,750 --> 00:38:09,708 Let's do that right here, just right click on that dialog 772 00:38:09,958 --> 00:38:13,833 track header and I'm going to choose Add tracks plural. 773 00:38:13,916 --> 00:38:17,250 And by doing that I can pick and choose where I want that to go. 774 00:38:17,250 --> 00:38:19,791 And in this case, I want it to go below dialog. 775 00:38:19,791 --> 00:38:25,750 I want it to be mono because these are all mono single channel mono tracks. 776 00:38:25,750 --> 00:38:28,041 So add track and there it is. 777 00:38:28,041 --> 00:38:31,041 Okay, so now we have it right where we need it 778 00:38:31,125 --> 00:38:34,666 and that's where we're going to then move all the Philips dialog. 779 00:38:34,666 --> 00:38:37,166 We're going to drop it down into his own track. 780 00:38:37,166 --> 00:38:39,708 We'll leave the top track for a million. 781 00:38:39,708 --> 00:38:44,500 So in fact, I'm going to go ahead and name this one. 782 00:38:44,541 --> 00:38:45,833 Yeah, this top track is 783 00:38:45,833 --> 00:38:49,750 a millionaire and the second one down here. 784 00:38:49,916 --> 00:38:54,958 And by the way, another trick is if I am typing in the name of one track 785 00:38:54,958 --> 00:38:58,041 and then I'd like to name the track below, just press the tab key. 786 00:38:58,250 --> 00:39:02,041 It'll automatically select the track name below so I can type Phillip. 787 00:39:02,041 --> 00:39:03,958 Then and we go. 788 00:39:03,958 --> 00:39:07,166 So we now have the Phillip track and the Amelie on a track. 789 00:39:07,250 --> 00:39:10,791 And so now our, our job is to find 790 00:39:10,791 --> 00:39:14,375 all of the sound that belongs or the dialog that belongs to Phillip, 791 00:39:14,458 --> 00:39:17,958 move it to his own track and leave Amelie on it on her own. 792 00:39:18,041 --> 00:39:19,583 And so very simple to do that. 793 00:39:19,583 --> 00:39:20,500 We're going to use the exact 794 00:39:20,500 --> 00:39:23,500 same kind of functionality we did before with Cut and paste. 795 00:39:23,541 --> 00:39:26,958 The difference now is we're moving from track to track and whether there's 796 00:39:26,958 --> 00:39:30,458 two characters in a room or it's an interview between two people, 797 00:39:30,666 --> 00:39:34,791 or if it happens to be whatever it is, an ensemble cast 798 00:39:34,791 --> 00:39:37,375 sitting around a dinner table all talking at once. 799 00:39:37,375 --> 00:39:40,083 Everybody gets their own track, and that way you can make sure 800 00:39:40,083 --> 00:39:44,833 that their voices sound excellent because they're going to get their own treatment. 801 00:39:44,916 --> 00:39:46,791 They will all be 802 00:39:46,875 --> 00:39:47,666 all the work that you will 803 00:39:47,666 --> 00:39:51,458 do will be to make that voice sound awesome. 804 00:39:51,541 --> 00:39:55,833 So first thing I want to do is just let's just go to the beginning of this track. 805 00:39:55,916 --> 00:39:58,791 She's going to press a home key, and as we walk ourselves down 806 00:39:58,791 --> 00:40:03,083 using the up and down arrow each time we get to a clip, if I need to move it, 807 00:40:03,166 --> 00:40:06,583 I basically need to drop it down to the lower track. 808 00:40:06,666 --> 00:40:08,833 Now, I no longer need to see my index. 809 00:40:08,833 --> 00:40:11,833 It's high that so I have a little bit more room to work. 810 00:40:12,000 --> 00:40:15,250 And something else I'd like to do is 811 00:40:15,333 --> 00:40:19,083 and what I'm working on this is make sure you can see your viewers 812 00:40:19,083 --> 00:40:23,416 and you can see who's actually talking or making any noise or voicing 813 00:40:23,500 --> 00:40:28,166 any of the sounds that we know that it belongs on their track. 814 00:40:28,250 --> 00:40:30,208 Now, as far as the navigation 815 00:40:30,208 --> 00:40:34,291 goes, again, I'm moving up and down to get from one clip to the next. 816 00:40:34,375 --> 00:40:36,750 And this first clip that has some sound on it. 817 00:40:36,750 --> 00:40:41,000 Let's let's start with the first one who's actually making the sound. 818 00:40:41,000 --> 00:40:43,625 If anybody? No one's actually making the sound. 819 00:40:43,625 --> 00:40:47,041 And as you can see, it's basically a dolly shot for a million us. 820 00:40:47,041 --> 00:40:49,500 We're just going to leave this sound with her. 821 00:40:49,500 --> 00:40:50,791 Let's go to the next shot. 822 00:40:50,791 --> 00:40:51,458 That's Philip. 823 00:40:51,458 --> 00:40:54,708 So I think I'd like to move that down to Philip's track. 824 00:40:54,791 --> 00:40:58,750 And whenever you want to move clips between tracks, it's very easy navigation 825 00:40:58,833 --> 00:41:01,750 and I can show you right where that is if you want. 826 00:41:01,750 --> 00:41:05,291 It's your track destinations in the Timeline menu. 827 00:41:05,375 --> 00:41:08,375 You're down here to where it says track destinations audio. 828 00:41:08,583 --> 00:41:11,000 You'll see very simple shortcuts for that. 829 00:41:11,000 --> 00:41:13,625 It's going to be option right down here. 830 00:41:13,625 --> 00:41:18,000 It's option command and the number one for the track one option command 831 00:41:18,000 --> 00:41:21,083 number two, it's basically there's two keys next to your spacebar 832 00:41:21,083 --> 00:41:26,083 are the ones that you'll use in order to select a specific track. 833 00:41:26,166 --> 00:41:29,291 You'll notice that you can also do the same thing for audio tracks. 834 00:41:29,291 --> 00:41:34,000 Those same keys, plus the up and down arrows will also navigate your selection. 835 00:41:34,041 --> 00:41:36,000 D Select the track and I'll just show you 836 00:41:36,000 --> 00:41:39,625 if I hold down this option and command together my down arrow. 837 00:41:39,625 --> 00:41:43,125 Notice that I can move up and down between these tracks very easily 838 00:41:43,208 --> 00:41:47,708 and that will make it super fast when I'm cutting and pasting. 839 00:41:47,916 --> 00:41:51,041 Also, because I'm using this, I won't accidentally move 840 00:41:51,041 --> 00:41:54,666 anything out of sync because it's just a direct move. 841 00:41:54,750 --> 00:41:57,791 It's its mouse free movement that I'll be doing 842 00:41:57,916 --> 00:42:00,916 in order to get it where it needs to go. 843 00:42:01,041 --> 00:42:05,250 So if I want to move this down, I just might play heads over the clip already. 844 00:42:05,250 --> 00:42:08,541 Just command X, then I'm going to hit the shortcut option. 845 00:42:08,541 --> 00:42:11,416 Command and down arrow. It's in position. 846 00:42:11,416 --> 00:42:13,500 I'm going to paste with Command V 847 00:42:13,500 --> 00:42:16,375 and then I'm going to go right back up and go to the next clip. 848 00:42:16,375 --> 00:42:17,625 This one is also Phillips. 849 00:42:17,625 --> 00:42:24,000 So Command X down, Command B and backup 850 00:42:24,083 --> 00:42:25,791 and let's move down. 851 00:42:25,791 --> 00:42:28,416 Next clip is and by the way, 852 00:42:28,416 --> 00:42:31,541 when you're navigating, sometimes you really have to watch the entire thing. 853 00:42:31,541 --> 00:42:35,375 But you can also move faster or slower. 854 00:42:35,458 --> 00:42:39,666 You could use your J, K and L keys, which you may use in editorial. 855 00:42:39,750 --> 00:42:41,416 You can also use those here. 856 00:42:41,416 --> 00:42:44,416 Those three keys will allow you to move forward 857 00:42:44,458 --> 00:42:47,458 and back using J moves back. 858 00:42:47,583 --> 00:42:48,875 L moves forward. 859 00:42:48,875 --> 00:42:53,708 If you hold K and L together, you'll move in slow motion forward 860 00:42:53,791 --> 00:42:59,083 K and J together move slow motion back and of course, holding K and just tapping 861 00:42:59,166 --> 00:43:01,041 L and J will move a frame at a time. 862 00:43:01,041 --> 00:43:02,750 So it's just easy navigation 863 00:43:02,750 --> 00:43:06,125 just in case you want to go through this a little quicker. 864 00:43:06,208 --> 00:43:09,000 This happens to be another Philip shot. 865 00:43:09,000 --> 00:43:10,291 This is where he actually starts talking. 866 00:43:10,291 --> 00:43:12,833 So command X, move that down. 867 00:43:12,833 --> 00:43:14,708 Command V two paced back up 868 00:43:14,708 --> 00:43:17,708 and I'm just going to tap my down arrow to get to that next shot. 869 00:43:17,750 --> 00:43:20,416 Now, I believe zoom in a little bit. 870 00:43:20,416 --> 00:43:22,375 This is a million usher. 871 00:43:22,375 --> 00:43:23,708 Nope, that's Philip too. 872 00:43:23,708 --> 00:43:25,291 So let's move that down. 873 00:43:25,291 --> 00:43:28,833 Command X down paced back up. 874 00:43:28,916 --> 00:43:31,708 What's this one eight identifier. 875 00:43:31,708 --> 00:43:33,291 Okay, so this one's actually a million. 876 00:43:33,291 --> 00:43:36,250 It stays where it is. 877 00:43:36,291 --> 00:43:38,125 Identify the person on the mic still. 878 00:43:38,125 --> 00:43:40,708 Amelia, Let's keep going. 879 00:43:40,708 --> 00:43:41,875 How's that possible? 880 00:43:41,875 --> 00:43:42,833 Okay, That's Philip. 881 00:43:42,833 --> 00:43:46,416 Command X down and paced back up. 882 00:43:46,500 --> 00:43:47,000 As you could see. 883 00:43:47,000 --> 00:43:49,458 You could just roll through these. 884 00:43:49,458 --> 00:43:50,875 I can even do it in fast forward. 885 00:43:50,875 --> 00:43:53,666 Okay. This is still Philip. So Philip is going to need to go. 886 00:43:53,666 --> 00:43:57,416 And I believe that quite a few of these next clips are Philip, 887 00:43:57,416 --> 00:44:01,291 These next most of the shots, except for this last one are all Philip's. 888 00:44:01,375 --> 00:44:05,416 And so one of the things we can do is we can also select them all at once. 889 00:44:05,500 --> 00:44:10,750 If I select all of those, if I drag across and select and hit Command X, I can grab 890 00:44:10,750 --> 00:44:15,458 all those at one time, move them down, get them to the right track and paste. 891 00:44:15,541 --> 00:44:18,750 And so now I've just laid all this into the track and we're just to the end. 892 00:44:18,750 --> 00:44:21,458 The last shot. This is actually Philip 893 00:44:21,541 --> 00:44:24,541 I need to select that track first, cut and paste. 894 00:44:24,708 --> 00:44:28,750 So this is just one scene, but as you can see, you can get pretty fast 895 00:44:28,958 --> 00:44:31,916 in navigating and pasting and moving things around to do. 896 00:44:31,916 --> 00:44:35,291 Your dialogue's editing very quickly. 897 00:44:35,375 --> 00:44:37,708 One of the things I'd like to do is I'm going to break this 898 00:44:37,708 --> 00:44:41,041 floating window out and hide my meters, 899 00:44:41,125 --> 00:44:43,125 and I'd like to actually color these tracks 900 00:44:43,125 --> 00:44:45,083 to make them a little more identifiable. 901 00:44:45,083 --> 00:44:47,916 And so, you know, one of the things we could do here is 902 00:44:47,916 --> 00:44:51,250 let's just make this top track. 903 00:44:51,291 --> 00:44:55,541 I could make this orange, and then Phillips yellow. 904 00:44:55,625 --> 00:44:58,166 But what I'm doing is right clicking on the header 905 00:44:58,166 --> 00:45:02,875 and then going down to the color and choosing whichever color I want. 906 00:45:02,958 --> 00:45:03,250 Okay. 907 00:45:03,250 --> 00:45:06,291 So once you've split your dialog, one of the things you need to do then 908 00:45:06,291 --> 00:45:09,375 is evaluate it and see how you did it and also listen to it 909 00:45:09,375 --> 00:45:11,708 and see how it sounds in case there's any issues. 910 00:45:11,708 --> 00:45:15,291 This is your time to really focus on it and start coming with your hit list 911 00:45:15,291 --> 00:45:19,041 of things you actually have to work on or areas that you need to go in 912 00:45:19,041 --> 00:45:24,333 and adjust the edit or trim or areas that might need some additional help. 913 00:45:24,416 --> 00:45:27,958 You know, as you're playing and listening and trying to focus on your clips 914 00:45:27,958 --> 00:45:31,625 when your play head gets to the end of the timeline, what does it do? 915 00:45:31,708 --> 00:45:34,166 Philip It doesn't fall off the end of the world. 916 00:45:34,166 --> 00:45:37,500 It redraws itself and just shows up on the other side, 917 00:45:37,500 --> 00:45:40,208 which is a little bit jarring if you're trying to get into a zone 918 00:45:40,208 --> 00:45:43,708 and really listen to the sound and get a feel for what's going on. 919 00:45:43,708 --> 00:45:46,708 So one of the things you can do is you can actually fix the play head 920 00:45:46,791 --> 00:45:49,458 and then it will scroll underneath, which works really well. 921 00:45:49,458 --> 00:45:53,333 And so right here in the view options, you will see that your timeline 922 00:45:53,333 --> 00:45:56,333 view options, you have something right here, that's the fixed play head. 923 00:45:56,458 --> 00:46:00,291 And if you select that, what that will do is that will now fix it 924 00:46:00,291 --> 00:46:03,291 so that the timeline will now scroll underneath. 925 00:46:03,500 --> 00:46:06,208 And let's say I want to find a particular spot and start playing. 926 00:46:06,208 --> 00:46:10,458 But notice that you can reposition it when you want to by grabbing the play head 927 00:46:10,708 --> 00:46:14,833 or you can actually move the the timeline by grabbing the ruler. 928 00:46:14,916 --> 00:46:16,541 If you want to scrub that spot. 929 00:46:16,541 --> 00:46:19,583 I'm just going to play it from here and just show you 930 00:46:19,666 --> 00:46:22,375 this is how I can kind of look and watch. 931 00:46:22,375 --> 00:46:25,500 I can even put this up in my meters if I wanted to, and watch it up here 932 00:46:25,750 --> 00:46:28,750 and focus on my dialog tracks and listening. 933 00:46:29,000 --> 00:46:29,500 Okay. 934 00:46:29,500 --> 00:46:32,500 I play CORE came out a few days ago. 935 00:46:32,666 --> 00:46:35,208 We came out of trial and 936 00:46:35,208 --> 00:46:37,041 tried to fix it 937 00:46:37,041 --> 00:46:39,708 since it happened with spacewalking. 938 00:46:39,708 --> 00:46:41,666 Okay. And right there I noticed there's an issue. 939 00:46:41,666 --> 00:46:45,208 So this is one of those things is as I hear it, I can find it, I can see 940 00:46:45,208 --> 00:46:48,750 it really easily and I'm going to go ahead and fix that or at least market. 941 00:46:49,000 --> 00:46:52,416 And so one of the things you can do is you notice that I had changed the clip, 942 00:46:52,458 --> 00:46:56,791 the track color a few times by just right clicking on the track header. 943 00:46:56,875 --> 00:46:59,625 And when I right click the track header, I could change the color, 944 00:46:59,625 --> 00:47:01,583 but you can also color clips. 945 00:47:01,583 --> 00:47:05,041 And if you do a clip color, that's going to 946 00:47:05,125 --> 00:47:07,041 take precedence over the track color. 947 00:47:07,041 --> 00:47:10,291 So that way it will stay there and you can have both as a guide. 948 00:47:10,291 --> 00:47:14,041 And so in this case, instead of changing the entire track, 949 00:47:14,125 --> 00:47:17,291 I'm going to change the color of this particular clip. 950 00:47:17,291 --> 00:47:19,083 So I'm just going to right click on that. 951 00:47:19,083 --> 00:47:22,750 This is the one that has an issue, and I'm going make it just green. 952 00:47:22,791 --> 00:47:23,875 So it will stand out. 953 00:47:23,875 --> 00:47:26,333 It makes it a little bit easier for me to see that. 954 00:47:26,333 --> 00:47:29,500 I also, assuming I played through the entire scene 955 00:47:29,500 --> 00:47:32,500 and I've listened to everything, this is really something I want to work on first. 956 00:47:32,541 --> 00:47:35,833 So I'm going to go over here and turn off my fixed play head 957 00:47:35,916 --> 00:47:38,083 and I'm ready to start work here. 958 00:47:38,083 --> 00:47:42,791 I'm going to just zoom in a little bit and I could use my mouse to zoom. 959 00:47:42,875 --> 00:47:46,166 So you can see Zoom really easily with that middle mouse wheel, 960 00:47:46,166 --> 00:47:51,000 or I can command and use minus and equals to zoom in. 961 00:47:51,000 --> 00:47:54,000 But this is the area that I'm having a little bit of trouble with. 962 00:47:54,166 --> 00:47:55,833 This is where I heard that there was a problem. 963 00:47:55,833 --> 00:47:58,208 So now I'm going to try to fix this. 964 00:47:58,208 --> 00:48:02,375 Just doing a little bit of trimming and just trying to clean it up. 965 00:48:02,458 --> 00:48:05,875 One of the nice things about doing your cleanup is you notice 966 00:48:05,875 --> 00:48:09,083 that as you hover over the edges of the clip, 967 00:48:09,166 --> 00:48:12,458 you will see that your instead of just getting an arrow, 968 00:48:12,458 --> 00:48:15,458 I'm now getting something that is showing me that's a trim tool. 969 00:48:15,458 --> 00:48:18,458 And on the fairly page, if I click the end of this clip, 970 00:48:18,458 --> 00:48:21,333 it shows me the entire thing, all of the handles. 971 00:48:21,333 --> 00:48:25,375 And as you can see, I can very easily see that a word was cut off. 972 00:48:25,458 --> 00:48:27,625 I'm able to extend that and release. 973 00:48:27,625 --> 00:48:31,166 And now I have, you know, whatever was at the end of this clip. 974 00:48:31,166 --> 00:48:32,916 Plus I have the beginning. 975 00:48:32,916 --> 00:48:36,500 So it's very easy for me to trim that at the end of this one. 976 00:48:36,500 --> 00:48:39,416 There's also an issue I'll just play that. 977 00:48:39,416 --> 00:48:40,500 That. 978 00:48:40,500 --> 00:48:43,833 So he just has a partial word there walking that. 979 00:48:43,916 --> 00:48:46,375 By the way, did you see how I took my mouse? 980 00:48:46,375 --> 00:48:48,416 And I walked all the way back here, clicked 981 00:48:48,416 --> 00:48:49,875 so that I could play something again. 982 00:48:49,875 --> 00:48:51,625 Walking that. Well. 983 00:48:51,625 --> 00:48:54,541 We also have a shortcut to be able to play again. 984 00:48:54,541 --> 00:48:57,583 Any time you've played something, you just want to play the exact same thing 985 00:48:57,583 --> 00:48:58,208 again. 986 00:48:58,208 --> 00:49:03,541 It's the option to listen again or option L alt L if you're on a PC 987 00:49:03,541 --> 00:49:07,750 and so on, just hit option L and it will automatically play that again. 988 00:49:07,833 --> 00:49:08,875 So just 2 hours ago. 989 00:49:08,875 --> 00:49:10,791 As many times as I want options. 990 00:49:10,791 --> 00:49:12,000 Space walk him. 991 00:49:12,000 --> 00:49:16,083 That and and let me hear that now another option that we have 992 00:49:16,083 --> 00:49:19,083 when you want to listen to a particular area instead of 993 00:49:19,166 --> 00:49:23,125 just using your play head, we can also create a range and you can do 994 00:49:23,125 --> 00:49:26,875 that by marking in and out points or you can actually drag a range. 995 00:49:26,875 --> 00:49:30,666 And in this case I'll drag a range using our range selection tool. 996 00:49:30,750 --> 00:49:34,208 If I zoom in here, you'll see we have a range tool 997 00:49:34,208 --> 00:49:35,958 and we also have an arrow tool. 998 00:49:35,958 --> 00:49:38,375 Up to now we've been only using this selection 999 00:49:38,375 --> 00:49:40,833 arrow tool, but over here is our range tool. 1000 00:49:40,833 --> 00:49:45,416 The shortcut is R, so A for the Arrow 1001 00:49:45,500 --> 00:49:49,250 tool and R for our range tool. 1002 00:49:49,250 --> 00:49:54,041 Now if I select the range tool, what that will do is that will allow me 1003 00:49:54,041 --> 00:49:57,625 to select a range of anything I want to just drag across it automatically. 1004 00:49:57,625 --> 00:49:58,791 Those elements are selected. 1005 00:49:58,791 --> 00:50:01,791 I can actually delete them, cut, copy, paste, that sort of thing. 1006 00:50:01,791 --> 00:50:05,250 But what else is nice is you see how it marks these in and out points here. 1007 00:50:05,250 --> 00:50:09,041 It marked a range and I can use that range for playback 1008 00:50:09,125 --> 00:50:11,875 and to play a range. 1009 00:50:11,875 --> 00:50:14,791 If I just hit the spacebar, it's just going to start 1010 00:50:14,791 --> 00:50:18,083 moving the play head from its position wherever it happens to be. 1011 00:50:18,250 --> 00:50:24,000 But if I use option and the forward slash, which is directly above that option key, 1012 00:50:24,083 --> 00:50:24,500 it will 1013 00:50:24,500 --> 00:50:28,500 start that playback of just my range. 1014 00:50:28,500 --> 00:50:33,208 And to take that one step further, if you look up here in the toolbar 1015 00:50:33,250 --> 00:50:36,833 here in your transport controls, you will see that we have a loop button. 1016 00:50:36,833 --> 00:50:42,041 If you turn that on, once that's engaged, then it will loop that playback. 1017 00:50:42,125 --> 00:50:45,000 You would spacewalking that. Okay. 1018 00:50:45,000 --> 00:50:47,500 And so then I can really hear what the issue happens to be. 1019 00:50:47,500 --> 00:50:49,750 Now, once I'm done with my range and I've set it, 1020 00:50:49,750 --> 00:50:52,166 I'll just press a to go back to my selection tool. 1021 00:50:52,166 --> 00:50:55,458 And that way I won't be doing anything or changing my range. 1022 00:50:55,541 --> 00:50:58,500 Because when you create a range, 1023 00:50:58,500 --> 00:51:02,875 if I create a range and click off of that range, anywhere else increases the range. 1024 00:51:02,875 --> 00:51:06,666 So if I select a range and go back to my arrow, 1025 00:51:06,750 --> 00:51:11,916 then I click anywhere and that range does not go away until I clear it. 1026 00:51:12,000 --> 00:51:14,250 It's only in and out. Point is really what's there. 1027 00:51:14,250 --> 00:51:18,125 So if you want to clear those in and out points, you can go up here. 1028 00:51:18,208 --> 00:51:23,291 It's in the mark menu, clear in and out or option X and it'll clear those. 1029 00:51:23,541 --> 00:51:26,083 So it's just getting used to marking things 1030 00:51:26,083 --> 00:51:29,958 and switching between two different tools. 1031 00:51:30,041 --> 00:51:33,041 I can still do my loop playback option for 1032 00:51:33,125 --> 00:51:33,791 that. 1033 00:51:33,791 --> 00:51:36,000 I can listen to this little area and I realize that 1034 00:51:36,000 --> 00:51:37,250 there's something in here I need to fix. 1035 00:51:37,250 --> 00:51:40,500 And so as I look at it, there's a partial word there that I don't want. 1036 00:51:40,500 --> 00:51:42,916 I'll just dial that back and it's gone. 1037 00:51:42,916 --> 00:51:44,500 Okay? So I can easily do that. 1038 00:51:44,500 --> 00:51:47,875 I can even add little fades here if I need to, to cut or trim 1039 00:51:47,958 --> 00:51:51,291 the some of the breath sounds if I want to make it a little less obvious 1040 00:51:51,375 --> 00:51:53,041 in any of these to kind of clean them up. 1041 00:51:53,041 --> 00:51:57,791 So that's just some basics as far as the dialog editing goes. 1042 00:51:57,875 --> 00:52:00,625 Yeah, clear my range, 1043 00:52:00,625 --> 00:52:02,916 but other things that we have to worry about once 1044 00:52:02,916 --> 00:52:06,416 we have the trim, once we have adjusted this and once everything is set up 1045 00:52:06,416 --> 00:52:09,166 and it's like, okay, now what? What's the next step? 1046 00:52:09,166 --> 00:52:10,916 I've got everybody on their own track 1047 00:52:10,916 --> 00:52:12,916 is the next thing you have to worry about is the levels. 1048 00:52:12,916 --> 00:52:14,375 Everybody cares about the levels 1049 00:52:14,375 --> 00:52:17,375 and we really need to make sure that all of these levels are good. 1050 00:52:17,541 --> 00:52:19,625 And if you need a guideline, 1051 00:52:19,625 --> 00:52:24,125 we actually have meters everywhere that are telling always the same story. 1052 00:52:24,208 --> 00:52:27,875 You want your dialog, look for the yellow or yellow for dialog. 1053 00:52:27,875 --> 00:52:30,875 In fact, it's one reason I use the yellow color often in 1054 00:52:31,125 --> 00:52:34,125 the tracks is yellow is going to be a nice solid color. 1055 00:52:34,250 --> 00:52:38,541 Obviously there's more details than that, but I'm going to bring up my mixture 1056 00:52:38,625 --> 00:52:41,625 and as you can see, there'll be meters across the top. 1057 00:52:41,750 --> 00:52:43,041 There's meters in the mixture 1058 00:52:43,041 --> 00:52:46,250 and there's even meters on every single track, and they're always showing you 1059 00:52:46,375 --> 00:52:47,125 those levels. 1060 00:52:47,125 --> 00:52:50,291 And so when the levels are lower, those are going to be green. 1061 00:52:50,458 --> 00:52:51,916 Yellow is going to be right there 1062 00:52:51,916 --> 00:52:54,958 near the middle, which is going to be the area that you really want your dialog 1063 00:52:54,958 --> 00:52:57,958 to be somewhere between minus ten and -15. 1064 00:52:57,958 --> 00:53:01,208 DB And then of course, if it gets a little bit too hard, 1065 00:53:01,208 --> 00:53:05,041 anything that's getting too loud, that's going to start showing red a little bit 1066 00:53:05,041 --> 00:53:06,750 and you can get away with if it gets too loud, 1067 00:53:06,750 --> 00:53:08,541 obviously that's going to be too much. 1068 00:53:08,541 --> 00:53:10,291 And so I can look at these clips. 1069 00:53:10,291 --> 00:53:13,291 Let's just look at Amelie on this, these two clips on her track. 1070 00:53:13,291 --> 00:53:15,541 I'm soloing her track. 1071 00:53:15,541 --> 00:53:16,916 Let's select her track. 1072 00:53:16,916 --> 00:53:19,375 And I'm just going to zoom in on that a little bit 1073 00:53:19,375 --> 00:53:21,916 so we can focus on these two clips right here. 1074 00:53:21,916 --> 00:53:24,000 And let's just see what those levels look like. 1075 00:53:24,000 --> 00:53:25,875 Now, I play them. 1076 00:53:25,875 --> 00:53:26,666 Watch your meters. 1077 00:53:26,666 --> 00:53:30,083 Notice I have meters here and here and on the right. 1078 00:53:30,166 --> 00:53:32,666 And as I play those, you can see that the levels are low. 1079 00:53:32,666 --> 00:53:36,416 I can mute my playback and I can scrub my play head over that 1080 00:53:36,416 --> 00:53:38,083 and I can still see the levels are low. 1081 00:53:38,083 --> 00:53:39,833 So how do I make those levels louder? 1082 00:53:39,833 --> 00:53:41,416 A couple of ways I can do that. 1083 00:53:41,416 --> 00:53:46,375 I can drag this bar up and down right there on the clip. 1084 00:53:46,375 --> 00:53:49,166 I can select that track if you want. It makes it easier to see. 1085 00:53:49,166 --> 00:53:50,916 I can drag that up and down. 1086 00:53:50,916 --> 00:53:51,416 And remember, 1087 00:53:51,416 --> 00:53:53,875 if you would like to see the outline on your waveforms, 1088 00:53:53,875 --> 00:53:56,291 you can always go back in and turn that outline on. 1089 00:53:56,291 --> 00:53:59,416 If you prefer to see an outline on them, you can easily do that. 1090 00:53:59,416 --> 00:54:01,500 That was one of those options. 1091 00:54:01,500 --> 00:54:05,791 And as I raise and lower these levels, notice it's showing me 1092 00:54:05,875 --> 00:54:10,166 how much change I'm applying right there in the tooltip, as you can see. 1093 00:54:10,375 --> 00:54:12,500 And so I'm just going to raise it up, but I can do that. 1094 00:54:12,500 --> 00:54:13,791 And then if I scrub over it, notice 1095 00:54:13,791 --> 00:54:17,541 that I'm still looking for it to be nice and yellow. 1096 00:54:17,541 --> 00:54:18,666 I'll just bring it up. 1097 00:54:18,666 --> 00:54:20,000 And now I can see that it's yellow. 1098 00:54:20,000 --> 00:54:22,000 I'm going to turn this off and play it. 1099 00:54:22,000 --> 00:54:24,833 It identify the person I'm speaking with, okay? 1100 00:54:24,833 --> 00:54:26,208 And now I can hear it. 1101 00:54:26,208 --> 00:54:28,333 And I can also see that those levels are in the yellow, 1102 00:54:28,333 --> 00:54:30,083 which is what I was looking for. Right? 1103 00:54:30,083 --> 00:54:31,500 And so I did that one. 1104 00:54:31,500 --> 00:54:35,916 But now I want to show you just something else that we can use as a guide. 1105 00:54:36,000 --> 00:54:37,625 Now, I mentioned the levels that you're aiming 1106 00:54:37,625 --> 00:54:39,041 for when you're working with your dialog. 1107 00:54:39,041 --> 00:54:40,750 It's going to be somewhere 1108 00:54:40,750 --> 00:54:43,708 around the peak, the average right where that sound is going to 1109 00:54:43,708 --> 00:54:47,583 sit is going to be somewhere between minus ten and -15 1110 00:54:47,833 --> 00:54:52,208 and decibels, and that would be right here on these meters. 1111 00:54:52,208 --> 00:54:55,208 And like I said, that's going to show up in the yellow 1112 00:54:55,375 --> 00:55:00,041 when I hide my I'll just resize this a little bit. 1113 00:55:00,125 --> 00:55:01,166 If I hide my monitoring 1114 00:55:01,166 --> 00:55:04,166 panel, you can see this mixture a little bit better. 1115 00:55:04,291 --> 00:55:06,875 And you can see that if I were to play this clip 1116 00:55:06,875 --> 00:55:09,875 and watch this, I'm going to select only that clip. 1117 00:55:09,958 --> 00:55:14,041 I'll use the range to select that clip by clicking anywhere at the bottom of that 1118 00:55:14,041 --> 00:55:17,708 clip, bottom half and you notice it, selected it and marked it 1119 00:55:17,708 --> 00:55:21,625 so that I can do a loop playback of that clip very easily. 1120 00:55:21,625 --> 00:55:24,208 Speaking with option forward slash. 1121 00:55:24,208 --> 00:55:27,208 Eight, identify the person I'm speaking with. 1122 00:55:27,416 --> 00:55:28,666 Eight identify the person. 1123 00:55:28,666 --> 00:55:30,625 And as you can see, it's right there in the yellow 1124 00:55:30,625 --> 00:55:32,250 and there's even these are sticky meters. 1125 00:55:32,250 --> 00:55:33,833 So that you're going to see that they have that 1126 00:55:33,833 --> 00:55:36,208 that bar across the top is showing you your peaks. 1127 00:55:36,208 --> 00:55:39,083 But then you can also see the average levels that nice solid bit. 1128 00:55:39,083 --> 00:55:41,250 And so I've got this right where I want it to go. 1129 00:55:41,250 --> 00:55:44,375 It could even be maybe a hair lower, but I'm really, really close. 1130 00:55:44,625 --> 00:55:48,000 And we also have additional things that we can use for this 1131 00:55:48,000 --> 00:55:52,166 if we'd like to help us find these levels even easier. 1132 00:55:52,250 --> 00:55:55,166 And so in addition to our meters, let's add a plug in. 1133 00:55:55,166 --> 00:55:57,208 Okay. We haven't added a plug in yet. 1134 00:55:57,208 --> 00:55:59,666 Let's go over to the effects library. 1135 00:55:59,666 --> 00:56:02,000 Okay. You've seen the media pool, You've seen the index. 1136 00:56:02,000 --> 00:56:03,375 Let's go the effects library. 1137 00:56:03,375 --> 00:56:04,791 And this is where you can access 1138 00:56:04,791 --> 00:56:08,458 all of the different effects that come with DaVinci Resolve. 1139 00:56:08,625 --> 00:56:12,541 And in this case, these are our Fairlight effects right here are audio effects. 1140 00:56:12,750 --> 00:56:16,791 Now, if you're working with DaVinci was all studio and you have ESD effects 1141 00:56:16,791 --> 00:56:22,458 or a few plug ins on your system, you can also access those from here. 1142 00:56:22,541 --> 00:56:24,958 In this case, these are all of the different plug ins 1143 00:56:24,958 --> 00:56:26,916 that come with Fairlight. 1144 00:56:26,916 --> 00:56:29,875 And in this case the one I'm looking for is, believe it or not, a meter. 1145 00:56:29,875 --> 00:56:31,333 This is just something that's kind of handy. 1146 00:56:31,333 --> 00:56:34,708 It's not going to change your sound, but it gives us something we can look at. 1147 00:56:34,916 --> 00:56:39,250 And so just take this meter and you can put your plug ins on clips. 1148 00:56:39,250 --> 00:56:43,083 You can have unlimited plug ins on a clip or you can put them on the entire track 1149 00:56:43,291 --> 00:56:44,500 up to six. 1150 00:56:44,500 --> 00:56:48,500 And so at this moment, we're going to put this on the Amelie 1151 00:56:48,500 --> 00:56:52,333 on a track by just dragging it from the effects library. 1152 00:56:52,333 --> 00:56:55,541 There it is, the meter and drag it right to her track header and release. 1153 00:56:55,750 --> 00:56:58,041 And what that gave you is a little meter. 1154 00:56:58,041 --> 00:57:01,708 As you can see now, this is a sample peak program level meter. 1155 00:57:01,791 --> 00:57:02,500 And so that's going 1156 00:57:02,500 --> 00:57:05,500 to give you the same kind of readout that what you're getting over here. 1157 00:57:05,583 --> 00:57:09,000 And this will clearly show you what the level is of this clip. 1158 00:57:09,000 --> 00:57:10,583 So if I start playing it, you'll see. 1159 00:57:10,583 --> 00:57:12,125 Off for the person I'm speaking with. 1160 00:57:12,125 --> 00:57:15,458 It's showing me that the peak is right around minus nine speaking, 1161 00:57:15,458 --> 00:57:18,458 but the average is probably right about where I want it to be. 1162 00:57:18,583 --> 00:57:23,583 But just in case, I'll take it down just a little bit, I'll try it again. 1163 00:57:23,666 --> 00:57:25,916 Eight Identify the person I'm speaking with. Okay, There it is. 1164 00:57:25,916 --> 00:57:28,583 So now it's peaking at around -11. 1165 00:57:28,583 --> 00:57:32,750 The averages are still nice and yellow. 1166 00:57:32,833 --> 00:57:33,041 Eight. 1167 00:57:33,041 --> 00:57:34,166 Identify the person. 1168 00:57:34,166 --> 00:57:36,750 Okay, So that's all work exactly the way I want it to. 1169 00:57:36,750 --> 00:57:37,708 So that's great. 1170 00:57:37,708 --> 00:57:41,166 And because I've added this plug in to a track, you'll notice 1171 00:57:41,166 --> 00:57:44,208 that here in the mixer you can see there's the plug in right there. 1172 00:57:44,208 --> 00:57:46,083 You can see it right there. 1173 00:57:46,083 --> 00:57:47,666 I can even delete this if I wanted to. 1174 00:57:47,666 --> 00:57:51,208 I don't and if I were to close this so I don't see it any more. 1175 00:57:51,208 --> 00:57:53,875 And I want to bring it back any time that interface. 1176 00:57:53,875 --> 00:57:57,625 I just have to come over here to the mixer and I can just click this button 1177 00:57:57,625 --> 00:58:01,083 right there, the controls, and it will automatically bring that back up. 1178 00:58:01,166 --> 00:58:04,583 So very easy for me to work with that right there. 1179 00:58:04,666 --> 00:58:06,041 Okay, 1180 00:58:06,125 --> 00:58:07,458 so now that 1181 00:58:07,458 --> 00:58:10,458 I've checked the levels on that particular clip, I'm going to bring this back up. 1182 00:58:10,458 --> 00:58:12,541 Let's do one more. 1183 00:58:12,541 --> 00:58:14,416 As you can see, I want to just this one as well. 1184 00:58:14,416 --> 00:58:15,125 Now, I'd go through 1185 00:58:15,125 --> 00:58:16,375 and we'd have to adjust the levels 1186 00:58:16,375 --> 00:58:22,625 on all of the clips, but now I can kind of eyeballing and get them close. 1187 00:58:22,708 --> 00:58:24,750 Identify the person on the MATLAB. 1188 00:58:24,750 --> 00:58:26,541 Okay. So both of these are right on. 1189 00:58:26,541 --> 00:58:27,291 So I'm good. 1190 00:58:27,291 --> 00:58:30,416 They're done with Amelie on this track and then I would move on to the next track. 1191 00:58:30,416 --> 00:58:32,458 Now hers is fairly easy to work with. 1192 00:58:32,458 --> 00:58:34,208 Phillips is a little bit more complicated. 1193 00:58:34,208 --> 00:58:37,208 He has a lot more going on in his tracks, which is fine. 1194 00:58:37,375 --> 00:58:38,125 But, you know, 1195 00:58:38,125 --> 00:58:41,833 one of the things you have to think about is also adjusting levels when some of 1196 00:58:41,833 --> 00:58:44,375 what they're saying is quieter and some of what they're saying is louder, 1197 00:58:44,375 --> 00:58:48,125 you might need to actually have keyframes to change the level within a clip. 1198 00:58:48,208 --> 00:58:51,250 And so I could do that right here. Let's look at this. 1199 00:58:51,333 --> 00:58:54,875 Let's see which one of his 1200 00:58:54,958 --> 00:58:57,750 pieces do I want to work with here? 1201 00:58:57,750 --> 00:58:59,250 He's got a couple of good ones 1202 00:58:59,250 --> 00:59:02,791 where he you know, the levels change within the clip. 1203 00:59:02,875 --> 00:59:06,583 Let's listen 1204 00:59:06,666 --> 00:59:07,333 to his track now. 1205 00:59:07,333 --> 00:59:09,458 I happen to have soloed mainly on his tracks. 1206 00:59:09,458 --> 00:59:13,708 I need to solo his until this one so I can hear it. 1207 00:59:13,791 --> 00:59:16,166 He came out of Creole and 1208 00:59:16,166 --> 00:59:18,208 I'm trying to fix it. 1209 00:59:18,208 --> 00:59:18,583 Okay. 1210 00:59:18,583 --> 00:59:21,125 So this is just basically him talking. 1211 00:59:21,125 --> 00:59:23,041 So that's kind of expected. 1212 00:59:23,041 --> 00:59:24,125 We have this one over here. 1213 00:59:24,125 --> 00:59:30,333 What's happening in this one? 1214 00:59:30,416 --> 00:59:31,791 Right? 1215 00:59:31,791 --> 00:59:33,041 Okay. Right there. 1216 00:59:33,041 --> 00:59:36,000 He says something really important, but it's very, very low. 1217 00:59:36,000 --> 00:59:38,458 He says, you died, so I'm going to bring that up a little bit. 1218 00:59:38,458 --> 00:59:41,791 Let's listen. Good, Right. 1219 00:59:41,875 --> 00:59:42,208 Okay. 1220 00:59:42,208 --> 00:59:43,916 We're going to definitely have to bring that up a little bit. 1221 00:59:43,916 --> 00:59:45,208 But it's also very creaky. 1222 00:59:45,208 --> 00:59:48,125 There's some sounds going in there. So we're going to have to deal with that. 1223 00:59:48,125 --> 00:59:50,291 Let's go to the clip right after the green one here. 1224 00:59:50,291 --> 00:59:51,500 We'll look at that a little bit more. 1225 00:59:51,500 --> 00:59:53,750 I definitely see a lot of level differences here. 1226 00:59:53,750 --> 00:59:56,750 So one of the things I'll do is I'll just add a keyframe to that 1227 00:59:56,750 --> 01:00:00,375 or a couple of keyframes so I can bend it so that I can make 1228 01:00:00,375 --> 01:00:03,708 the levels different from the beginning of the clip to the end of the clip. 1229 01:00:03,708 --> 01:00:06,750 And to do that simple to add a keyframe, 1230 01:00:06,750 --> 01:00:09,750 you just hold the option key or out key and click once. 1231 01:00:09,833 --> 01:00:11,958 So this first section is a little low to. 1232 01:00:11,958 --> 01:00:13,166 Our school. 1233 01:00:13,166 --> 01:00:15,500 And the sections second section is pretty hot. 1234 01:00:15,500 --> 01:00:17,416 So I'm going to just basically option 1235 01:00:17,416 --> 01:00:20,416 click and add to keyframes right there in the middle. 1236 01:00:20,583 --> 01:00:23,583 As you can see, option clicking adds the keyframes. 1237 01:00:23,666 --> 01:00:27,666 I can then grab the levels and make them higher, lower 1238 01:00:27,750 --> 01:00:32,541 by using those, you know, to alternate, you know, how the sound works. 1239 01:00:32,541 --> 01:00:34,666 So otherwise I'm adjusting everything. 1240 01:00:34,666 --> 01:00:38,833 So as you can see, I just raise that level bit through. Our school 1241 01:00:38,916 --> 01:00:39,250 boom, 1242 01:00:39,250 --> 01:00:42,250 There's this explosion and it's surrounded the whole ship. 1243 01:00:42,333 --> 01:00:42,833 Okay? 1244 01:00:42,833 --> 01:00:45,416 And so that allows me to kind of adjust the volume. 1245 01:00:45,416 --> 01:00:49,166 And then you can also get in there and really massage those levels 1246 01:00:49,166 --> 01:00:52,250 as much as you need to for different elements as you go. 1247 01:00:52,250 --> 01:00:55,250 If I have these little peaks right here that seem to be a little bit too loud, 1248 01:00:55,375 --> 01:01:00,416 I can also add keyframes again, option clicking to add those keyframes. 1249 01:01:00,541 --> 01:01:03,833 And it doesn't matter whether the track is the clip is selected or not. 1250 01:01:03,833 --> 01:01:07,458 Once I've done that, I can use my arrow tool is fine and notice 1251 01:01:07,458 --> 01:01:11,666 that I can raise or lower just that one little section by using keyframes. 1252 01:01:11,666 --> 01:01:13,708 And so that's very helpful for getting in there 1253 01:01:13,708 --> 01:01:16,041 and massaging your levels and getting them just right. 1254 01:01:16,041 --> 01:01:19,333 Your goal is to adjust the levels of the clips 1255 01:01:19,333 --> 01:01:23,375 just like you might if you were doing color grading when to balance each clip. 1256 01:01:23,458 --> 01:01:24,250 Same thing here. 1257 01:01:24,250 --> 01:01:26,708 You want to balance each audio clip within the track 1258 01:01:26,708 --> 01:01:30,833 so that the track stands alone when you go to do anything else with that. 1259 01:01:30,916 --> 01:01:34,375 So that's just a little bit with the balancing of the levels. 1260 01:01:34,583 --> 01:01:36,833 Now let's go down and look at one other thing we have. 1261 01:01:36,833 --> 01:01:39,708 I need to turn the solo off on this track. 1262 01:01:39,708 --> 01:01:42,708 Let's bring these back together 1263 01:01:42,791 --> 01:01:44,666 and I'm going to hide my effects library for now. 1264 01:01:44,666 --> 01:01:46,375 We'll be using those again in just a minute. 1265 01:01:46,375 --> 01:01:50,916 I will clear my play range and I want to look at normalization 1266 01:01:50,916 --> 01:01:52,208 because that's one of the thing you can do. 1267 01:01:52,208 --> 01:01:55,500 It's kind of like the auto white balance of 1268 01:01:55,583 --> 01:01:56,875 volume levels, right? 1269 01:01:56,875 --> 01:02:01,166 And instead you're basically adjusting the peak levels on a particular clip. 1270 01:02:01,166 --> 01:02:04,291 So I'm just going to go to the beginning of a this track will zoom in a little bit 1271 01:02:04,541 --> 01:02:07,500 and her first clip, if I want to check the levels on that. 1272 01:02:07,500 --> 01:02:12,541 One of the things I could do is just right click on that and choose 1273 01:02:12,625 --> 01:02:14,083 normalize audio level. 1274 01:02:14,083 --> 01:02:15,291 And that lets me choose. 1275 01:02:15,291 --> 01:02:17,958 There's my sample peak program. 1276 01:02:17,958 --> 01:02:20,041 Notice the default is minus nine. 1277 01:02:20,041 --> 01:02:21,291 Now, why would it be minus nine? 1278 01:02:21,291 --> 01:02:24,916 If we want all the sound to be between minus ten and -15? 1279 01:02:25,041 --> 01:02:27,083 Well, because nine is just above ten. Right. 1280 01:02:27,083 --> 01:02:30,583 And so if that's your peak, chances are the average is going to be sitting 1281 01:02:30,583 --> 01:02:31,583 right where you want it. 1282 01:02:31,583 --> 01:02:33,541 So nine is a pretty safe place to start. 1283 01:02:33,541 --> 01:02:36,500 Usually So I'll leave it at minus nine. 1284 01:02:36,500 --> 01:02:41,500 And one thing I will mention is that our normalization also includes true peak. 1285 01:02:41,500 --> 01:02:45,250 And you can also choose one of your loudness standards as well. 1286 01:02:45,333 --> 01:02:46,791 In this case, we're just going to look at 1287 01:02:46,791 --> 01:02:49,916 we're balancing our clips, so we're just going to do the sample 1288 01:02:49,916 --> 01:02:54,000 peak program and normalize and that just barely adjusted that one. 1289 01:02:54,208 --> 01:02:59,250 I'm going to randomly make these different just to show you that normalization 1290 01:02:59,250 --> 01:03:03,416 will adjust no matter what levels those clips happen to be. 1291 01:03:03,625 --> 01:03:06,500 I'm going to select all of these clips again, 1292 01:03:06,500 --> 01:03:09,916 and this time I'm going to right click and choose normalize audio levels. 1293 01:03:09,916 --> 01:03:14,958 And because I chose more than one clip, what that's going to allow me to do is 1294 01:03:15,041 --> 01:03:18,625 I can look at them relatively and if I adjust them relatively, 1295 01:03:18,625 --> 01:03:20,166 what that's going to do is it's going to treat it 1296 01:03:20,166 --> 01:03:23,166 as if it's one clip and whatever the loudest peak 1297 01:03:23,250 --> 01:03:26,250 among all those clips, that's going to dictate how all of them move. 1298 01:03:26,458 --> 01:03:27,666 Definitely don't want that here. 1299 01:03:27,666 --> 01:03:29,458 So I'm going to go to Independent. 1300 01:03:29,458 --> 01:03:32,875 And if I choose independent and click Normalize, it's now going to 1301 01:03:32,875 --> 01:03:36,000 look at each one independently and a balance them out perfectly. 1302 01:03:36,000 --> 01:03:37,250 So they should all be right. 1303 01:03:37,250 --> 01:03:41,708 Amelie where they need to be in the yellow good solid volume levels. 1304 01:03:41,958 --> 01:03:43,916 And I'm ready to move on. 1305 01:03:43,916 --> 01:03:47,125 You know, we've done our dialog editing, we've made our adjustments 1306 01:03:47,125 --> 01:03:49,166 and we've pretty much set this up 1307 01:03:49,166 --> 01:03:51,958 and got everything exactly the way we need it to move 1308 01:03:51,958 --> 01:03:55,708 on to the next step, which would be a little bit more of repair. 1309 01:03:55,708 --> 01:03:59,791 Sometimes we have things that we just can't fix them with what we have. 1310 01:03:59,875 --> 01:04:05,375 For example, one of the things we can't fix very easily is this shot right here. 1311 01:04:05,458 --> 01:04:06,208 I will zoom in. 1312 01:04:06,208 --> 01:04:09,375 This will be the one on Phillip's track. 1313 01:04:09,458 --> 01:04:12,208 Does use my mouse to zoom in. 1314 01:04:12,208 --> 01:04:14,750 And this one, unfortunately, is 1315 01:04:14,750 --> 01:04:17,750 one of the most important lines of dialog in the entire show. 1316 01:04:17,958 --> 01:04:22,583 And it is very heavily I'll bring up my major so we can see it. 1317 01:04:22,666 --> 01:04:26,166 And if you listen 1318 01:04:26,250 --> 01:04:28,250 goodnight. 1319 01:04:28,250 --> 01:04:31,166 He says You died, but you hear all that weird creaking and stuff like that. 1320 01:04:31,166 --> 01:04:32,541 It's totally distracting. 1321 01:04:32,541 --> 01:04:36,291 And so one of the things I can do is go fishing through my other footage 1322 01:04:36,291 --> 01:04:40,166 and find another take where he did the same thing and just replace it. 1323 01:04:40,333 --> 01:04:43,458 And in doing so, I'm also going to show a few other features that we have. 1324 01:04:43,666 --> 01:04:47,458 And a couple of things are just really, really awesome 1325 01:04:47,458 --> 01:04:51,750 for as you're building your tracks up and you're trying to align things, 1326 01:04:51,833 --> 01:04:55,875 being able to overlap them and work within layers is really useful. 1327 01:04:55,875 --> 01:04:58,000 So I'll show that right now 1328 01:04:58,041 --> 01:05:00,875 as you work, let's go in and 1329 01:05:00,875 --> 01:05:03,916 what we'll do is I need to go up to the timeline menu 1330 01:05:04,083 --> 01:05:07,083 and I want to choose layered audio editing. 1331 01:05:07,166 --> 01:05:10,791 So up until this point we've been doing 1332 01:05:10,875 --> 01:05:14,458 the default would be to overwrite editing, which means 1333 01:05:14,458 --> 01:05:17,833 if you drop a clip on top of another clip, it's going to put a hole in it. 1334 01:05:17,833 --> 01:05:21,125 Basically where the new clip is, if you remove the material, 1335 01:05:21,291 --> 01:05:23,291 there's a space there where it used to be. 1336 01:05:23,291 --> 01:05:26,791 If you do layered audio editing, they sit on top of each other in layers 1337 01:05:26,791 --> 01:05:30,208 and become transparent as you drag them around 1338 01:05:30,208 --> 01:05:33,208 so that you can actually overlap those waveforms and see them perfectly. 1339 01:05:33,208 --> 01:05:36,500 It's a great way to work, so I'll show you that right now. 1340 01:05:36,583 --> 01:05:39,958 Here is the clip that we need to adjust, and what I'll do is 1341 01:05:39,958 --> 01:05:42,208 I'll drop the new one on immediately on this track 1342 01:05:42,208 --> 01:05:45,583 so we can work with it from there just to align it. 1343 01:05:45,666 --> 01:05:49,500 Let's go into the media pool and I'll find the clip I want is down here 1344 01:05:49,500 --> 01:05:53,291 where it says repair and replace and there's only one clip you knows. 1345 01:05:53,291 --> 01:05:54,583 I'm looking at things in list view. 1346 01:05:54,583 --> 01:05:56,750 You can also look in icon view as well. 1347 01:05:56,750 --> 01:05:59,000 And there I can see there's the scratch voiceover 1348 01:05:59,000 --> 01:06:02,000 and I have this one right here, which is the clip I want to work with. 1349 01:06:02,208 --> 01:06:03,625 It's already been marked. 1350 01:06:03,625 --> 01:06:06,541 This is the sound right here, which says you decide, 1351 01:06:06,625 --> 01:06:08,458 okay, that's what I want to do. 1352 01:06:08,458 --> 01:06:11,375 Now, by the way, you can mark in and out points right here in the preview player 1353 01:06:11,375 --> 01:06:16,500 by just marking I in or over out, just like you would on editorial 1354 01:06:16,583 --> 01:06:19,000 just like you can in the timeline as well. 1355 01:06:19,000 --> 01:06:22,541 So I've got this part and I want to place it right here in the track above. 1356 01:06:22,541 --> 01:06:26,833 So I'm just going to drop it right there and then I can hide my media pool. 1357 01:06:26,916 --> 01:06:32,083 And so now I have the clip sitting right there on top, roughly in the right place. 1358 01:06:32,083 --> 01:06:35,000 I'll zoom in a little bit. And as you can see, it's the same line. 1359 01:06:35,000 --> 01:06:36,625 You can totally tell that 1360 01:06:36,625 --> 01:06:40,125 it's basically the same thing, one sitting on top of the other. 1361 01:06:40,333 --> 01:06:43,916 Now I'm going to turn off my layered audio editing for a second. 1362 01:06:43,916 --> 01:06:46,250 If I were to drag this on top, great. 1363 01:06:46,250 --> 01:06:47,458 I just stuck it in that track. 1364 01:06:47,458 --> 01:06:52,250 Notice it took on the track color and actually I'll change the clip color 1365 01:06:52,250 --> 01:06:56,125 now to Let's go with Navi just so it stands out. 1366 01:06:56,125 --> 01:06:58,333 But look what happened if I pull this back out. 1367 01:06:58,333 --> 01:07:02,833 It punched a hole in there because it was in overwrite editing our default mode. 1368 01:07:02,833 --> 01:07:05,708 So instead I'll just undo that. 1369 01:07:05,708 --> 01:07:07,166 I still make it navy though. 1370 01:07:07,166 --> 01:07:08,708 That looks good. 1371 01:07:08,708 --> 01:07:09,291 There we go. 1372 01:07:09,291 --> 01:07:13,041 And I'm going to go up to we're going to just work our way right up here 1373 01:07:13,041 --> 01:07:17,583 to the timeline and change it to layered audio editing mode. 1374 01:07:17,666 --> 01:07:21,458 Am I going to layered audio editing mode now? 1375 01:07:21,541 --> 01:07:24,333 I can align it here as best I can. 1376 01:07:24,333 --> 01:07:26,458 In fact, right here, there's a little magnet. 1377 01:07:26,458 --> 01:07:30,208 As you can see, this is our snapping magnet, that icon. 1378 01:07:30,208 --> 01:07:32,916 Let me just zoom in there so you can see right there, it looks like a magnet. 1379 01:07:32,916 --> 01:07:35,750 I can turn that on and off any time if I need to. 1380 01:07:35,750 --> 01:07:39,500 If I turn it off, it just allows me to move things in a little freer. 1381 01:07:39,500 --> 01:07:42,166 It's not going to try to snap them to markers or clips, 1382 01:07:42,166 --> 01:07:44,625 and then I'm going to drop it right down on top of the other one. 1383 01:07:44,625 --> 01:07:45,125 And look at that. 1384 01:07:45,125 --> 01:07:49,041 I can absolutely see both waveforms at the exact same time 1385 01:07:49,041 --> 01:07:52,375 and I can really line those up beautifully just like that 1386 01:07:52,458 --> 01:07:54,458 when I release that, I know those are in sync. 1387 01:07:54,458 --> 01:07:56,625 I don't have to look at those to know that. 1388 01:07:56,625 --> 01:08:00,000 I just line those up very nicely and once it's sitting there, 1389 01:08:00,000 --> 01:08:02,541 then I can always extend it, make it a little bit longer. 1390 01:08:02,541 --> 01:08:06,000 If I wanted to on either side, I could even add fades 1391 01:08:06,083 --> 01:08:08,750 as you can with any clip by just dragging up at the top. 1392 01:08:08,750 --> 01:08:13,291 Notice any clip you hover over, you can automatically add a fade. 1393 01:08:13,375 --> 01:08:16,041 And as you can see, because it's sitting on top of another clip, 1394 01:08:16,041 --> 01:08:19,833 it's actually doing a nice crossfade there to the clip beneath it. 1395 01:08:19,916 --> 01:08:22,916 If I this. You died. 1396 01:08:23,000 --> 01:08:25,250 And you can see that it's working perfectly. 1397 01:08:25,250 --> 01:08:27,250 I'm going to back that up, 1398 01:08:27,250 --> 01:08:30,500 zoom out a little bit and I'd like to show you what the layers look like. 1399 01:08:30,500 --> 01:08:33,458 So if I go up here to the View menu, 1400 01:08:33,458 --> 01:08:37,000 I can come down to where it says show audio track layers. 1401 01:08:37,083 --> 01:08:37,916 It's in The View menu. 1402 01:08:37,916 --> 01:08:41,875 It's just a way of viewing your timeline and you can actually see there's one clip 1403 01:08:41,875 --> 01:08:45,583 sitting on top of the other clip inside of track layers. 1404 01:08:45,666 --> 01:08:47,333 Okay, They're both still there. 1405 01:08:47,333 --> 01:08:49,500 It just never got rid of the first one. 1406 01:08:49,500 --> 01:08:51,500 It's Just got a clip sitting on top of it. 1407 01:08:51,500 --> 01:08:55,000 I'll go back to The View menu and now turn it off. 1408 01:08:55,041 --> 01:08:58,791 And as I said, I can extend this as much as I needed to and play it back. 1409 01:08:58,875 --> 01:09:00,458 You died. 1410 01:09:00,541 --> 01:09:00,833 Okay. 1411 01:09:00,833 --> 01:09:01,791 And there it is. 1412 01:09:01,791 --> 01:09:05,416 So those are just some of the things we can do to kind of repair 1413 01:09:05,625 --> 01:09:10,041 a couple of other things that might come in handy for fixing up your clips. 1414 01:09:10,041 --> 01:09:11,416 So let's come over 1415 01:09:11,416 --> 01:09:15,500 and go into the media pool, back to my timelines and enlist view. 1416 01:09:15,708 --> 01:09:19,541 And I'm actually going to go to a little bit further timeline. 1417 01:09:19,625 --> 01:09:23,166 These are all different Progressive's progressive timelines of the things 1418 01:09:23,166 --> 01:09:24,875 that we've been doing all along. 1419 01:09:24,875 --> 01:09:28,833 And so now I'm down to the point where I'd like to show a little bit of repair. 1420 01:09:28,916 --> 01:09:32,250 So I'm going to just double click on this particular timeline to open up. 1421 01:09:32,250 --> 01:09:35,541 And this is outside of the main scene that we were working on. 1422 01:09:35,750 --> 01:09:37,250 And here you're going to see 1423 01:09:37,250 --> 01:09:40,958 just a couple of examples of issues that we run into where we can use our plug 1424 01:09:40,958 --> 01:09:45,000 ins to kind of do some repairs that you can't do with a mouse and keyboard. 1425 01:09:45,083 --> 01:09:48,000 So let's go over to the media pool and I'm going to actually hide that. 1426 01:09:48,000 --> 01:09:50,833 Don't need it, make this fit a little bit better. 1427 01:09:50,833 --> 01:09:53,000 This first clip has a very common issue. 1428 01:09:53,000 --> 01:09:57,583 And in fact, I'm going to bring up the effects library so we can see that 1429 01:09:57,666 --> 01:10:01,625 and the issue we have is there's a home in the background. 1430 01:10:01,625 --> 01:10:06,500 In fact, if I play this, I may or may not hear it go. 1431 01:10:06,583 --> 01:10:08,000 If you can't hear it right now, 1432 01:10:08,000 --> 01:10:11,208 I will make sure that you hear it by turning up the volume. 1433 01:10:11,291 --> 01:10:14,708 So I'm going to turn this up, but I will also mark an out point on that. 1434 01:10:14,708 --> 01:10:18,916 So it's only going to play this little section I marked over out, 1435 01:10:19,000 --> 01:10:22,000 and I'd like to zoom in on that a little bit. 1436 01:10:22,000 --> 01:10:25,208 And I'm going to turn up the volume level by just cranking that up. 1437 01:10:25,291 --> 01:10:28,041 By the way, you can use shortcuts to 1438 01:10:28,041 --> 01:10:31,416 and lower the volume as well if the clip happens to be selected. 1439 01:10:31,666 --> 01:10:36,541 And the shortcuts for those are in the time, let's see, where are they? 1440 01:10:36,583 --> 01:10:40,250 They are in the clip menu audio to increase 1441 01:10:40,250 --> 01:10:44,041 or decrease levels if the clip is selected. 1442 01:10:44,291 --> 01:10:46,958 So in this case, I just dragged that up. 1443 01:10:46,958 --> 01:10:50,125 So now it's nice and loud. You'll hear 1444 01:10:50,208 --> 01:10:51,250 there's that power line. 1445 01:10:51,250 --> 01:10:51,708 You can hear it. 1446 01:10:51,708 --> 01:10:55,916 That's a very common sound that you'll get 1447 01:10:56,000 --> 01:10:57,458 if you ever plugged in an amplifier. 1448 01:10:57,458 --> 01:10:58,416 Know what that sound is? 1449 01:10:58,416 --> 01:11:02,083 That is a 60 hertz power line sound. 1450 01:11:02,083 --> 01:11:03,583 I'm just going to put that back. 1451 01:11:03,583 --> 01:11:06,500 Notice that when I raise the volume of a clip by just double clicking 1452 01:11:06,500 --> 01:11:10,291 on that volume line, it does reset that level. 1453 01:11:10,375 --> 01:11:12,875 Now, if I want to remove that sound, 1454 01:11:12,875 --> 01:11:15,875 I'm going to add a plug in to the clip itself. 1455 01:11:15,875 --> 01:11:18,208 I don't have to add this to the to the mixer. 1456 01:11:18,208 --> 01:11:20,291 In fact, I don't even need my mixer showing. 1457 01:11:20,291 --> 01:11:24,333 And what I'm going to do is I'm going to come over here to my DX Hummer 1458 01:11:24,416 --> 01:11:26,708 and just drag that right onto the clip. 1459 01:11:26,708 --> 01:11:29,125 As I mentioned, you can have unlimited plug ins on a clip. 1460 01:11:29,125 --> 01:11:30,833 So by just dropping that on there, 1461 01:11:30,833 --> 01:11:33,833 now let's put the DX Hummer right there on the clip. 1462 01:11:33,916 --> 01:11:37,083 If I select the clip now, I can play that. 1463 01:11:37,166 --> 01:11:39,500 I'm just going to play that section 1464 01:11:39,583 --> 01:11:41,125 or I can do the entire clip. 1465 01:11:41,125 --> 01:11:46,041 I'll get my range to select the entire clip and play the whole thing 1466 01:11:46,125 --> 01:11:47,250 home still there. 1467 01:11:47,250 --> 01:11:49,166 And I can see that's a very healthy hum. 1468 01:11:49,166 --> 01:11:52,166 But you notice that in our DX Hummer interface 1469 01:11:52,375 --> 01:11:56,541 you will see that it has two presets ones for Zoom in on that. 1470 01:11:56,791 --> 01:12:00,333 One is for 50 hertz, which would be if you were in Europe 1471 01:12:00,416 --> 01:12:03,083 and 60 hertz would be if you're in the US. 1472 01:12:03,083 --> 01:12:06,083 So depending on where you live in the world, you're going be 1473 01:12:06,083 --> 01:12:08,333 either 50 or 60 hertz. 1474 01:12:08,333 --> 01:12:09,750 And so we have a preset for both. 1475 01:12:09,750 --> 01:12:12,250 I'm just going to hit 60 hertz to fix that. 1476 01:12:12,250 --> 01:12:12,958 In order for you to. 1477 01:12:12,958 --> 01:12:13,375 Play that. 1478 01:12:13,375 --> 01:12:16,416 And it should have cleaned it up pretty quickly, I can adjust the amount 1479 01:12:16,416 --> 01:12:20,000 as needed fact, you can drag that amount all the way if you want it to. 1480 01:12:20,208 --> 01:12:21,666 And that's going to take 1481 01:12:21,666 --> 01:12:24,666 all of that sound out and then just kind of slowly back it off. 1482 01:12:24,833 --> 01:12:25,291 Set it as. 1483 01:12:25,291 --> 01:12:29,458 Needed and if you're wondering what are these other 1484 01:12:29,541 --> 01:12:30,208 areas, these 1485 01:12:30,208 --> 01:12:33,625 notches that you're seeing, each of those that's what's being reduced. 1486 01:12:33,625 --> 01:12:35,875 That's the different frequencies that are being reduced. 1487 01:12:35,875 --> 01:12:38,583 And if you notice, these are the harmonics. 1488 01:12:38,583 --> 01:12:41,250 You just keep multiplying the initial sound. 1489 01:12:41,250 --> 01:12:44,541 So 60 hertz, the next one would be 120 and then so on. 1490 01:12:44,541 --> 01:12:46,125 That's where you're going to get those harmonics 1491 01:12:46,125 --> 01:12:49,541 and you might need to include those as you're working with your filtering. 1492 01:12:49,541 --> 01:12:50,916 And that's why that's there. 1493 01:12:50,916 --> 01:12:53,583 They all work together to kind of achieve our goal. 1494 01:12:53,583 --> 01:12:56,583 And then once you're finished, we now have 1495 01:12:56,791 --> 01:13:00,166 dealt with that particular noise and it is better, thank goodness. 1496 01:13:00,166 --> 01:13:01,625 Right now. 1497 01:13:01,625 --> 01:13:04,791 One of the things that once you have added a plug in or multiple plug 1498 01:13:04,791 --> 01:13:09,125 ins to a clip, if you actually want to play it back without any processing, 1499 01:13:09,208 --> 01:13:14,333 you can right click and choose to cache that audio effect noticed right there. 1500 01:13:14,500 --> 01:13:17,041 You can bounce it, which will actually make it into a new clip. 1501 01:13:17,041 --> 01:13:20,500 It'll render a new clip with the effects on it or just cache. 1502 01:13:20,583 --> 01:13:23,250 And so I just clicked cache audio effect. 1503 01:13:23,250 --> 01:13:25,958 You'll notice it now shows a little drive there. 1504 01:13:25,958 --> 01:13:30,250 So and this is the clip with the plug in cash. 1505 01:13:30,291 --> 01:13:33,541 I can see it's much cleaner than it was before. 1506 01:13:33,625 --> 01:13:36,500 If I right click, I can always uncheck the cache 1507 01:13:36,500 --> 01:13:37,666 and then it will show it to me. 1508 01:13:37,666 --> 01:13:39,500 It's still going to sound the same either way. 1509 01:13:39,500 --> 01:13:45,750 It's just what I'm actually able to hear and see in my waveform how it's it. 1510 01:13:45,833 --> 01:13:46,375 Okay, 1511 01:13:46,375 --> 01:13:50,166 One of the thing while I've got this clip selected is let's go watch the inspector, 1512 01:13:50,250 --> 01:13:52,541 because the inspector will show you information 1513 01:13:52,541 --> 01:13:54,750 about anything that you happen to have selected. 1514 01:13:54,750 --> 01:13:57,958 So in this case, if I do so, if I select this clip, 1515 01:13:58,041 --> 01:14:00,833 it's showing me information about that particular clip, 1516 01:14:00,833 --> 01:14:03,500 including the effects that have been applied to it. 1517 01:14:03,500 --> 01:14:06,500 So all you have to do is click on that effects tab, 1518 01:14:06,625 --> 01:14:12,375 and now you'll see that there's my D plug in and I can actually open up 1519 01:14:12,375 --> 01:14:15,541 the controls for that any time by just going into the effects. 1520 01:14:15,541 --> 01:14:16,541 And I can set that up. 1521 01:14:16,541 --> 01:14:21,041 I can even turn it on and off if I wanted to, from here or back on the controls. 1522 01:14:21,041 --> 01:14:23,000 I'm going to hide my inspector. 1523 01:14:23,000 --> 01:14:25,250 And as you can see, this is. With crime. 1524 01:14:25,250 --> 01:14:28,250 And without. Trying to fix it. 1525 01:14:28,250 --> 01:14:30,125 The plug in. 1526 01:14:30,208 --> 01:14:32,916 Now go ahead and close that up. 1527 01:14:32,916 --> 01:14:34,166 And so that's the first one. 1528 01:14:34,166 --> 01:14:35,083 We finished that. 1529 01:14:35,083 --> 01:14:36,208 Let's move over here. 1530 01:14:36,208 --> 01:14:38,375 The last plug in that I want to show you. 1531 01:14:38,375 --> 01:14:39,916 And then we're going to try one more thing. 1532 01:14:39,916 --> 01:14:43,125 And that's actually applying what we just learned on a real world 1533 01:14:43,125 --> 01:14:45,750 project is I'm going to go down to this lower track, 1534 01:14:45,750 --> 01:14:48,208 select that clip with my range tool. 1535 01:14:48,208 --> 01:14:49,791 So it's already marked it. 1536 01:14:49,791 --> 01:14:52,000 And if I play any of this, what you're going to hear is 1537 01:14:52,000 --> 01:14:56,750 this is a very scratchy sounding Amelie on a new tune. 1538 01:14:56,833 --> 01:14:59,458 Yes. Now, I don't know how well you could hear it. 1539 01:14:59,458 --> 01:15:00,875 If I turn this up, you're going to see this. 1540 01:15:00,875 --> 01:15:01,708 Quite a bit of noise here, 1541 01:15:01,708 --> 01:15:02,458 but there's some kind 1542 01:15:02,458 --> 01:15:06,541 of scratching to that that makes it completely unacceptable for playback. 1543 01:15:06,541 --> 01:15:09,625 I could never turn this Phillip Mader 1544 01:15:09,708 --> 01:15:10,166 Phillip? 1545 01:15:10,166 --> 01:15:12,500 Maida, do you hear all that noise back there? 1546 01:15:12,500 --> 01:15:13,208 Now this. 1547 01:15:13,208 --> 01:15:16,500 What we have is our noise reduction will actually help you 1548 01:15:16,583 --> 01:15:18,208 reduce all different types of noise. 1549 01:15:18,208 --> 01:15:21,875 In this case, we just want to get rid of this particular sound. 1550 01:15:21,958 --> 01:15:24,833 What's in between the dialog and then leave the dialog. 1551 01:15:24,833 --> 01:15:27,416 So the trick to that is I'm going to zoom in 1552 01:15:27,416 --> 01:15:30,416 and I'm going to set a range for just part of the clip. 1553 01:15:30,416 --> 01:15:32,541 Right now. I don't need all of it. I just need some of it. 1554 01:15:32,541 --> 01:15:34,250 A place where there's noise. 1555 01:15:34,250 --> 01:15:36,708 So I just dragged a little range right there. 1556 01:15:36,708 --> 01:15:40,083 I'm going to turn this way up so I can really hear it. 1557 01:15:40,166 --> 01:15:43,125 And now if I listen, 1558 01:15:43,125 --> 01:15:45,166 that's the noise I'm trying to avoid. 1559 01:15:45,166 --> 01:15:46,083 You hear that? 1560 01:15:46,083 --> 01:15:48,208 There's a lot of that little crackly sound in there. 1561 01:15:48,208 --> 01:15:53,166 Now, obviously, you shouldn't have to turn it loud to hear it, 1562 01:15:53,250 --> 01:15:54,625 but I just turned it way up 1563 01:15:54,625 --> 01:15:56,875 to make sure that everybody heard what we're dealing with. 1564 01:15:56,875 --> 01:15:59,208 So let's use our noise reduction. 1565 01:15:59,208 --> 01:16:00,625 I'm going to come down here to the noise 1566 01:16:00,625 --> 01:16:04,375 reduction plug in, and I'm going to drop that right on the clip. 1567 01:16:04,458 --> 01:16:08,083 Now, the noise reduction gives you two options for reducing noise. 1568 01:16:08,083 --> 01:16:10,791 I can hide my effects library. 1569 01:16:10,791 --> 01:16:12,875 The two options that we have for reducing noise. 1570 01:16:12,875 --> 01:16:16,416 One of them is manual mode, which basically will learn a noise profile. 1571 01:16:16,416 --> 01:16:18,333 You tell it what to learn and that's what it removes. 1572 01:16:18,333 --> 01:16:23,291 Sort of like using a key when you're working with images you remove this color. 1573 01:16:23,291 --> 01:16:25,833 In this case it's remove this sound profile. 1574 01:16:25,833 --> 01:16:29,250 So to do that, just make sure you're in manual mode 1575 01:16:29,333 --> 01:16:34,083 and then I'm going to press this learn key and just play some of my noise. 1576 01:16:34,166 --> 01:16:39,000 I'll turn it up a little louder just to make sure it gets a nice profile. 1577 01:16:39,083 --> 01:16:40,541 And you can see that crackling noise. 1578 01:16:40,541 --> 01:16:43,875 You see the white is the actual sound, the purple is what it's reading 1579 01:16:43,875 --> 01:16:44,791 as the profile. 1580 01:16:44,791 --> 01:16:48,833 And so if I turn off learn, that's what it's going to keep. 1581 01:16:48,916 --> 01:16:49,583 So there you go. 1582 01:16:49,583 --> 01:16:52,583 So that is the part that we have to work with. 1583 01:16:52,750 --> 01:16:55,791 And just make sure if you are playing looped playback 1584 01:16:55,791 --> 01:16:58,958 and you have it cranked up really loud, just only play loop playback 1585 01:16:59,000 --> 01:17:03,250 option forward slash, I'm going to double click on 1586 01:17:03,333 --> 01:17:04,666 to reset those levels. 1587 01:17:04,666 --> 01:17:08,500 And now that my noise profile's there, I can clear the range 1588 01:17:08,541 --> 01:17:11,125 and let's just play that clip and it should sound pretty good. 1589 01:17:11,125 --> 01:17:13,333 Amelie on a new tune. 1590 01:17:13,333 --> 01:17:16,250 Yes, Phillip made a 1591 01:17:16,250 --> 01:17:18,750 So the noise is gone now if I'm doing too much, 1592 01:17:18,750 --> 01:17:22,166 if I'm taking out too much noise, I can always adjust my wet, dry level. 1593 01:17:22,250 --> 01:17:27,416 Dry means no effect has been applied and wet means fully applied and anywhere 1594 01:17:27,416 --> 01:17:30,416 in between is how much of the effect is going on to the clip. 1595 01:17:30,458 --> 01:17:35,000 Now, as you can see, one of the things that we need to look at here 1596 01:17:35,083 --> 01:17:39,416 is I want to try the auto mode, because auto sounds so easy, right? 1597 01:17:39,416 --> 01:17:43,083 Let's go ahead and select it and change it to now auto speech mode. 1598 01:17:43,166 --> 01:17:46,791 And then what auto speech mode will do is it will listen 1599 01:17:46,833 --> 01:17:49,208 automatically and it's going to find the voice 1600 01:17:49,208 --> 01:17:51,916 and actually extract it from any other background noise. 1601 01:17:51,916 --> 01:17:54,916 And so I just switched it over to auto speech mode. 1602 01:17:54,958 --> 01:17:55,916 And as I play notice, 1603 01:17:55,916 --> 01:17:59,791 it will just automatically leave and just strip that sound out for me. 1604 01:17:59,875 --> 01:18:03,500 So sometimes you need multiple plug ins and sometimes you can get away 1605 01:18:03,500 --> 01:18:04,458 with just one. 1606 01:18:04,458 --> 01:18:08,000 So if something's really noisy, I might need to use two noise reductions. 1607 01:18:08,000 --> 01:18:11,500 Maybe I'll do a noise print first manual and then add in auto mode. 1608 01:18:11,500 --> 01:18:14,500 But that is how I can get this to work. 1609 01:18:14,666 --> 01:18:18,250 So those are two examples of some of our repair plugins. 1610 01:18:18,333 --> 01:18:19,333 Just want to show you 1611 01:18:19,333 --> 01:18:22,166 how to put some of these things together in a real world project 1612 01:18:22,166 --> 01:18:24,500 because this is something that happens all the time. 1613 01:18:24,500 --> 01:18:29,250 So let's come over here to, the different timeline. 1614 01:18:29,250 --> 01:18:31,416 I'm going to use this repairs. 1615 01:18:31,416 --> 01:18:34,750 This is a real clip from a real project. 1616 01:18:34,750 --> 01:18:37,000 I'm actually going to go to the edit page for the first time. 1617 01:18:37,000 --> 01:18:38,666 Just click on the edit button. 1618 01:18:38,666 --> 01:18:40,916 And as you can see here, I am on the edit page. 1619 01:18:40,916 --> 01:18:44,708 As you can see the trip to get from editorial to audio 1620 01:18:44,708 --> 01:18:47,125 post in DaVinci resolve is very fast, right? 1621 01:18:47,125 --> 01:18:49,916 You click a single button. I'm already there in audio post. 1622 01:18:49,916 --> 01:18:53,375 Well, this is what this particular clip looks like in editorial. 1623 01:18:53,375 --> 01:18:55,625 And if I were on the other page 1624 01:18:55,625 --> 01:18:59,708 and I found this the editor playing it, this is what an editor would see 1625 01:18:59,791 --> 01:19:01,041 in their tool set. 1626 01:19:01,041 --> 01:19:03,750 Visuals look great. But listen. 1627 01:19:03,750 --> 01:19:06,083 So with this stuff, right. 1628 01:19:06,083 --> 01:19:09,458 Audio is not great 1629 01:19:09,500 --> 01:19:12,833 and most of the sound is only coming out of one speaker. 1630 01:19:12,916 --> 01:19:16,791 And obviously there's a problem, but it's not very obvious from here. 1631 01:19:16,833 --> 01:19:18,708 Now let's go back to the Fairlight page. 1632 01:19:18,708 --> 01:19:20,333 How do you switch this fairly page, Of course. 1633 01:19:20,333 --> 01:19:23,666 Just click the satellite button at the bottom of your screen. 1634 01:19:23,750 --> 01:19:27,000 And now we're on the front page now, right away, 1635 01:19:27,000 --> 01:19:28,125 when you look at the Fairlight page, 1636 01:19:28,125 --> 01:19:31,583 we all of the channels of a clip right there in the track. 1637 01:19:31,583 --> 01:19:35,291 And so as you could see, this top track, this is this looks like garbage. 1638 01:19:35,291 --> 01:19:39,458 This particular upper channel here is barely any sound at all. 1639 01:19:39,458 --> 01:19:44,208 It might have been a mic turned on, but there's clearly no usable sound in there. 1640 01:19:44,333 --> 01:19:47,666 But it's being mixed with the good mic right? 1641 01:19:47,875 --> 01:19:50,208 Plus, we're in a kitchen that has refrigerators 1642 01:19:50,208 --> 01:19:53,208 and all kinds of other things, so who knows what all is creating the noise. 1643 01:19:53,416 --> 01:19:56,583 So one of the first things we can do is we can just change the channel 1644 01:19:56,583 --> 01:20:00,958 mapping of this so that instead of this being a stereo clip with two channels, 1645 01:20:00,958 --> 01:20:04,166 let's just pair it down to the one channel. 1646 01:20:04,166 --> 01:20:06,041 We actually want a channel. 1647 01:20:06,041 --> 01:20:07,916 The left channel is one. 1648 01:20:07,916 --> 01:20:10,375 The right channel that looks decent is Channel two. 1649 01:20:10,375 --> 01:20:14,375 So how do you change those attributes? Let me go to my error tool 1650 01:20:14,458 --> 01:20:17,833 and just with your arrow tool, a four arrow, I'm just going to right 1651 01:20:17,833 --> 01:20:22,416 click on that clip and choose clip attributes. 1652 01:20:22,500 --> 01:20:25,208 And when you go to click attributes, this shows me that it's stereo 1653 01:20:25,208 --> 01:20:28,291 and it shows me both of my microphones that just happens to be this clip. 1654 01:20:28,541 --> 01:20:29,875 If it was a six channel clip, 1655 01:20:29,875 --> 01:20:32,875 it would tell me it was a six channel clip and I'd see all those channels. 1656 01:20:33,000 --> 01:20:34,583 So what I want to do is change it to mono. 1657 01:20:34,583 --> 01:20:36,291 So it's only a single channel, 1658 01:20:36,291 --> 01:20:40,041 but I don't want Channel one, I only want Channel two. 1659 01:20:40,125 --> 01:20:40,958 Here you go. 1660 01:20:40,958 --> 01:20:43,583 So by making this Channel two 1661 01:20:43,583 --> 01:20:47,791 and making it mono, you notice that it'll just take it a second to redraw that. 1662 01:20:47,875 --> 01:20:51,416 And now I should be able to hear this feed. 1663 01:20:51,500 --> 01:20:52,250 I should be able to hear it. 1664 01:20:52,250 --> 01:20:54,750 And now I'm only getting this single channel that I needed. 1665 01:20:54,750 --> 01:20:57,708 Now I also want to change my audio. 1666 01:20:57,708 --> 01:21:00,000 As you can see, this track is a stereo track 1667 01:21:00,000 --> 01:21:05,000 and I really need it to be a mono track so you can at any time change 1668 01:21:05,000 --> 01:21:09,083 what type of track you're working with too by just right clicking the track header, 1669 01:21:09,166 --> 01:21:16,458 going down to where it says change track type to mono, and now my track matches my 1670 01:21:16,541 --> 01:21:18,000 and the clip. 1671 01:21:18,000 --> 01:21:19,416 I can actually see it pretty well. 1672 01:21:19,416 --> 01:21:25,375 Now let's listen to just the good channel and action. 1673 01:21:25,458 --> 01:21:27,250 And even listening to this, 1674 01:21:27,250 --> 01:21:30,125 I am going to say I can tell that this is very noisy. 1675 01:21:30,125 --> 01:21:31,166 Stuff, right? 1676 01:21:31,166 --> 01:21:35,000 You hear all kinds of refrigerator sounds and things in the background. 1677 01:21:35,000 --> 01:21:36,041 This is pretty noisy. 1678 01:21:36,041 --> 01:21:37,583 So again, let's go in and use 1679 01:21:37,583 --> 01:21:41,708 the two tools that we have and how easy that will be to work with. 1680 01:21:41,708 --> 01:21:41,958 Right. 1681 01:21:41,958 --> 01:21:46,125 So as we're looking at repairs, one of the things I'll do is take my range 1682 01:21:46,125 --> 01:21:51,000 tool and I'll just drag a little range right here of some of that noise 1683 01:21:51,083 --> 01:21:53,000 and okay, that'll work. 1684 01:21:53,000 --> 01:21:55,750 Turn this up a little bit so I can really hear it 1685 01:21:55,750 --> 01:21:58,958 and I'll be afraid because I just option forward slash. 1686 01:21:59,041 --> 01:22:03,291 Okay, that's the noise and okay, that's the one saying. 1687 01:22:03,291 --> 01:22:05,041 And as in, 1688 01:22:05,125 --> 01:22:06,875 so I'll just change the in point of that. 1689 01:22:06,875 --> 01:22:09,208 I marked a new endpoint 1690 01:22:09,208 --> 01:22:10,625 and it's still there. 1691 01:22:10,625 --> 01:22:13,916 So let me just find a better slice here, just 1692 01:22:14,000 --> 01:22:17,916 when in doubt, make a new range. 1693 01:22:18,000 --> 01:22:18,458 Okay. 1694 01:22:18,458 --> 01:22:20,083 Pure noise. 1695 01:22:20,083 --> 01:22:20,666 I can hear it now. 1696 01:22:20,666 --> 01:22:23,250 I also hear a really high pitch whine again. 1697 01:22:23,250 --> 01:22:24,166 I think that's a refrigerator. 1698 01:22:24,166 --> 01:22:25,958 So whenever I have both noise 1699 01:22:25,958 --> 01:22:28,625 and some kind of home, I'm going to go for the home first. 1700 01:22:28,625 --> 01:22:30,583 So I'm going to go in here to my close. 1701 01:22:30,583 --> 01:22:32,333 My medium will get my effects library. 1702 01:22:32,333 --> 01:22:33,750 Now, by the way, you don't have to close. 1703 01:22:33,750 --> 01:22:35,791 I mean, you can have both at the same time. 1704 01:22:35,791 --> 01:22:40,625 Media pool will then sit on top and the effects will sit at the bottom, 1705 01:22:40,708 --> 01:22:41,875 which is fine. 1706 01:22:41,875 --> 01:22:44,000 In this case, I don't really need the media pool 1707 01:22:44,000 --> 01:22:45,833 and I'm going to go in here and I'm just going to go down 1708 01:22:45,833 --> 01:22:49,041 and find this my D hammer, so I'm going to hit the noise first. 1709 01:22:49,125 --> 01:22:52,583 I could apply it to the entire track or I could apply it to the clip. 1710 01:22:52,583 --> 01:22:54,750 In this case, I'll just drop it right on the clip. 1711 01:22:54,750 --> 01:22:55,583 There it is. 1712 01:22:55,583 --> 01:22:56,458 There's my D hammer. 1713 01:22:56,458 --> 01:23:00,000 Now is not a power line home. 1714 01:23:00,083 --> 01:23:03,458 And again, I'm listening to this by hitting option forward slash 1715 01:23:03,500 --> 01:23:04,875 that is not power line home. 1716 01:23:04,875 --> 01:23:07,041 That's a really high pitched whiny sound. 1717 01:23:07,041 --> 01:23:09,583 So first thing I'll do is I'm going to 1718 01:23:09,583 --> 01:23:12,541 we could just sweep these frequencies by dragging frequency. 1719 01:23:12,541 --> 01:23:14,625 I'm also going to make the amount really high. 1720 01:23:14,625 --> 01:23:18,583 And that way I know I'll hear it when that home goes away or that 1721 01:23:18,791 --> 01:23:21,416 C sound goes away. So 1722 01:23:21,500 --> 01:23:26,958 I'm going to now walk downstream 1723 01:23:27,041 --> 01:23:28,916 and just right there, 1724 01:23:28,916 --> 01:23:31,416 that high pitched whine feels like it's gone. 1725 01:23:31,416 --> 01:23:33,666 Okay, that's what I was trying to accomplish. 1726 01:23:33,666 --> 01:23:36,583 So now that high pitch sound is gone, 1727 01:23:36,583 --> 01:23:39,708 I'm also going to adjust my slope a little bit because the main part 1728 01:23:39,708 --> 01:23:42,708 of his voice, the meat of his voice, is going to be right in this section. 1729 01:23:42,750 --> 01:23:43,458 And I'm thinking 1730 01:23:43,458 --> 01:23:46,583 this is a very high pitch sound that's probably right there around 400. 1731 01:23:46,583 --> 01:23:49,375 So I'm going to change the slope just like that. 1732 01:23:49,375 --> 01:23:53,958 So this swaps the position of the harmonics with the fundamental. 1733 01:23:54,041 --> 01:23:56,500 And now I'm going to listen here 1734 01:23:56,500 --> 01:23:58,041 and that high pitched whine is gone. 1735 01:23:58,041 --> 01:24:01,041 I can bring this amount back a little bit if I wanted to. 1736 01:24:01,041 --> 01:24:04,333 But there so that was the first problem solved. 1737 01:24:04,416 --> 01:24:07,166 And then the second one, what I need to do is I need to come in here 1738 01:24:07,166 --> 01:24:09,458 and now we want to do that noise reduction. 1739 01:24:09,458 --> 01:24:10,916 Now I don't need a range for that. 1740 01:24:10,916 --> 01:24:13,916 I'm going to just trust the noise reduction will work and drop onto 1741 01:24:13,916 --> 01:24:15,041 the clip. 1742 01:24:15,041 --> 01:24:18,291 Also reset this and I'm going to set it to auto speech mode. 1743 01:24:18,291 --> 01:24:22,000 And just like that, I'm going to hope that between the two of them. 1744 01:24:22,083 --> 01:24:24,208 Hello, my name is Jamie, and today I'm. 1745 01:24:24,208 --> 01:24:26,083 And it sounds. Great Chinese. 1746 01:24:26,083 --> 01:24:27,250 So as you can see 1747 01:24:27,250 --> 01:24:31,291 that was putting together those different tools that we have shown you. 1748 01:24:31,375 --> 01:24:35,500 And in this case, just having those repairs ready to throw in there. 1749 01:24:35,500 --> 01:24:37,458 And it just makes a really big difference. 1750 01:24:37,458 --> 01:24:40,458 So whether it's one clip or and dialog scene, 1751 01:24:40,500 --> 01:24:44,791 having those repair plugins ready to use, very helpful. 1752 01:24:44,875 --> 01:24:48,416 So I have one last thing to show and it's right here. 1753 01:24:48,416 --> 01:24:49,916 Let's go back to the media pool, 1754 01:24:49,916 --> 01:24:50,958 the effects library 1755 01:24:50,958 --> 01:24:52,000 and I'm going to show you 1756 01:24:52,000 --> 01:24:55,166 when you can't use a plug in or when there's something that you just 1757 01:24:55,375 --> 01:24:56,833 have to find a way to get rid of. 1758 01:24:56,833 --> 01:24:59,666 Sometimes you have to go into the sample level to edit something. 1759 01:24:59,666 --> 01:25:04,458 So the last example for this overview is going be 1760 01:25:04,541 --> 01:25:05,750 fixing a music cue. 1761 01:25:05,750 --> 01:25:09,916 Now, if you've ever come across clicks and pops in your files, you'll notice that 1762 01:25:10,041 --> 01:25:14,083 it doesn't matter if it's dialog or music or whatever it is, you can't turn it in. 1763 01:25:14,083 --> 01:25:18,583 If it's got some kind of really loud pop that's going to make all the speakers pop, 1764 01:25:18,666 --> 01:25:18,958 you know, 1765 01:25:18,958 --> 01:25:21,500 that means you have to get in there and find a way to fix it 1766 01:25:21,500 --> 01:25:23,541 and maybe some third party plug ins. It works. 1767 01:25:23,541 --> 01:25:25,333 Sometimes they do, sometimes they don't. 1768 01:25:25,333 --> 01:25:29,166 But you can go in there, just dial it right out on your waveform 1769 01:25:29,250 --> 01:25:32,333 using just your arrow tool and. 1770 01:25:32,333 --> 01:25:34,166 I'll show you how to do that right now. 1771 01:25:34,166 --> 01:25:39,083 So I've opened up this music queue and at the beginning of the music queue 1772 01:25:39,083 --> 01:25:43,500 there is a two pop, which is a single frame, 1773 01:25:43,583 --> 01:25:44,125 as you can hear. 1774 01:25:44,125 --> 01:25:48,416 That's just a one kilohertz tone, one frame of that for indicating 1775 01:25:48,416 --> 01:25:52,958 that we are at the beginning of a scene or of a show, then we're using for sync. 1776 01:25:53,000 --> 01:25:55,916 If I put my play head over that and zoom in and out 1777 01:25:55,916 --> 01:25:59,583 and continue to zoom and you'll see we can really get in there pretty far. 1778 01:25:59,666 --> 01:26:02,125 Remember left and right, that's one frame. 1779 01:26:02,125 --> 01:26:05,916 Look at how far I've moved into my waveform. 1780 01:26:06,000 --> 01:26:10,500 As I continue to zoom, I can get all the way down to the sample level. 1781 01:26:10,500 --> 01:26:11,958 Once you start seeing these little boxes, 1782 01:26:11,958 --> 01:26:14,208 you know, you're looking at it at the sample level. 1783 01:26:14,208 --> 01:26:17,208 Now, in this case, that's just a one kilohertz tone. 1784 01:26:17,333 --> 01:26:19,708 Now we're going to go in there and find that issue, 1785 01:26:19,708 --> 01:26:21,291 which happens to be at this red marker. 1786 01:26:21,291 --> 01:26:24,958 So I can shift down here to the red marker, zoom in a little bit 1787 01:26:25,125 --> 01:26:27,500 and actually, let's play it. I want you to hear this. 1788 01:26:27,500 --> 01:26:29,083 I'm just going to pull this back to the beginning. 1789 01:26:29,083 --> 01:26:30,166 Play this little piece of music. 1790 01:26:30,166 --> 01:26:34,625 When you hear that pop, see the meters flash and you'll know you're in trouble. 1791 01:26:34,625 --> 01:26:48,458 And that's what we have to fix. So we just play it. 1792 01:26:48,541 --> 01:26:50,000 You hear that? 1793 01:26:50,000 --> 01:26:51,708 That is the sound we're trying to avoid. 1794 01:26:51,708 --> 01:26:56,791 That's what we have to do, is that pop also sends your meter spiking 1795 01:26:56,791 --> 01:26:58,541 and you've probably all heard that once before. 1796 01:26:58,541 --> 01:27:00,833 So now that you've heard it, let's get rid of it. 1797 01:27:00,833 --> 01:27:03,208 Put my play it on that red marker. Zooming in. 1798 01:27:03,208 --> 01:27:05,666 This actually takes a few seconds, believe it or not. 1799 01:27:05,666 --> 01:27:10,083 So I'm just going to come over here, zoom in and continue to zoom in. 1800 01:27:10,166 --> 01:27:13,416 I just have to keep chasing it because we're zoomed in so far 1801 01:27:13,416 --> 01:27:16,083 that, we are nowhere near a frame. 1802 01:27:16,083 --> 01:27:19,500 And so what I did was I just assumed into it until I finally 1803 01:27:19,500 --> 01:27:23,416 got to a point and as you can redraw it a few times going in and out 1804 01:27:23,416 --> 01:27:27,166 using your zoom shortcuts so you get a space that you can actually work with 1805 01:27:27,291 --> 01:27:28,500 that looks pretty good. 1806 01:27:28,500 --> 01:27:31,041 And so why I was doing that was this is the glitch. 1807 01:27:31,041 --> 01:27:33,583 That's what it looks like at the sample level. 1808 01:27:33,583 --> 01:27:35,916 And so if I want to dial that out, I can just select right here. 1809 01:27:35,916 --> 01:27:38,750 I can select a sample, just kind of move my mouse. 1810 01:27:38,750 --> 01:27:42,166 I get nice and smooth and I'll come over here and do the same thing. 1811 01:27:42,166 --> 01:27:42,416 It doesn't 1812 01:27:42,416 --> 01:27:47,250 actually perfect, just want to align it with the ones that were there before you 1813 01:27:47,333 --> 01:27:50,250 zoom out and that glitch is gone. 1814 01:27:50,250 --> 01:27:54,083 And if I were to play this 1815 01:27:54,166 --> 01:27:58,583 and no sign of it now, just the percussion. 1816 01:27:58,583 --> 01:28:01,583 And so that is working at the sample level. 1817 01:28:01,625 --> 01:28:02,500 So thank you very much 1818 01:28:02,500 --> 01:28:05,916 for watching this overview of the late page individual results. 1819 01:28:06,125 --> 01:28:09,625 If you have any further questions, you can visit the Black 1820 01:28:09,625 --> 01:28:12,625 Magic Design web page to check out. 1821 01:28:12,625 --> 01:28:13,916 So thank you for watching. 164302

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