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Hi, I'm Mary.
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And today I'm going to show you the family
page in Da Vinci Resolve 17.
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So let's get started here on the fear
page.
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You'll see running across the top.
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I'll mute my playback and you will see
these are our meters
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where you can check out
the monitoring panel.
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You can see your control room levels,
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your loudness, and you can even see
a viewer of your playback.
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As you're working across the right side,
you will see your mixer,
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which will always show you all of your
channel strips and your main outputs.
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And then in the middle,
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this is the timeline and this is where
you have all your tracks and your clips,
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and this is where you can do
a lot of your work.
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Now, right now
I only have a single clip in here
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and this is actually the finished stereo
mix from a short film called Hyper Light.
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And as I play this back, you'll notice
that just using the spacebar will start
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and stop your playback,
as you would with most applications.
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I'll go ahead and unmute that.
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Other things
you might want to do for navigation,
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you'll see right here in the Middle
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Zoom,
and you can see that a little better.
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These are transport controls,
so you have your play and stop.
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If you wanted to use those instead, you
would have them just as you would expect.
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And we also have shortcuts
that you can use for navigation as well.
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So you can go to the home position
by just pressing.
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The home key
will always take you to the first frame
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and the end key
will take you to the last premiere clip.
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So that's really easy navigation as well.
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A couple of things to think about
as you're working on the Fairway pages.
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If you select a track,
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you'll notice that the clip beneath
the track will always highlight.
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That shows you which track,
which clip you're working with.
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And that comes in really handy
when you start doing some editing
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and things like that.
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So one of the things you always want
to pay attention to is
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where is your play head
and what happens to be selected?
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And luckily there's a lot of visual clues
to help you figure that out as you go.
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So if you look over here,
like I said, I've got this track
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selected and I can tell
the clip has been selected underneath it.
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If I do select the track,
the clip is still beneath the play head
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and I can just find where the play it is
that way as well.
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Also, if I manually select a clip,
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which I'll do it right now, you'll notice
it gets a red outline.
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And what that shows you is
this clip is also selected.
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So there's several different ways
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that you can tell which things
have been selected at any time.
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Or if I click in an empty space,
it's selected
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now which clips are selected
or which tracks are selected
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come in really handy when you start
doing using shortcuts and also doing
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editing, cut, copy, paste,
that sort of things.
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It's very important to know where you are
and what happens to be selected,
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and I'll bring that up again
when we get closer to it.
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Now, one other thing that we should do,
as you're getting to know the interface
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is how to zoom
and move yourself around manually.
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So if I wanted to, I could just drag
my head across the clips, as you can see.
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And when I do that, I can hear it.
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That's scrubbing back and forth
just by dragging.
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I can also click anywhere in this ruler
to move my play head to that position.
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Whenever I move my play head
to a position,
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you'll notice that the timecode in upper
left will update to show me
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exactly what the time code is
at the point where my play head is,
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as you can see,
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and you can even change this ruler
if you need to work
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in different increments
and all you need to do for
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that is just right click in this timecode
display area
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and you can choose to include subframes
or even samples if you like.
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And if you're working in only samples
or if you're working in film
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and you need to show feet in frames.
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You can also do that here.
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Just go down to where it says,
you know, feet in frames.
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And now I'm looking at it that way.
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I'm going to switch it back
just to standard.
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Just by using the right click right mouse
button, I can go back and change that.
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Now. Contextual menus are really handy
when you're working in the Fairway page,
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and any of the pages in DaVinci was also
you will see me mentioning that
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quite a bit
when I talk about right clicking.
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And that's
just to bring up those contextual menus
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which you'll see
depending on where I click,
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I'm going to get a different menu
and different options.
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And so that's just another way
to access different things as you go.
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I'm going to
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deselect this track right now
and just press the home key
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to move to the beginning and again
and key to get to the end.
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So that is just the very basics
of working with one clip.
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Now let's take this a little bit further.
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Obviously,
if we were to play through this,
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you'll hear
that this is the entire mix of this scene.
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But I'm going to switch
to a different timeline.
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And in order to do that,
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we have several ways you could you could
go to this shortcut menu right here.
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And if I click on this,
this will give me a list of some
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of my different recent timelines
that I've worked with.
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Another option that you have is
we could go over to the media pool.
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And the media pool is where you can access
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all of your media, as the name suggests
and also your timelines.
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I happen to have a bin right here,
and this is the list
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of all the different timelines
that we'll be using for this tutorial.
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So right now we were just in the starting
timeline, which was a single clip.
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Let's fast forward to take our scene
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a little bit further
and I'm going to show you the stems.
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So go ahead to the next timeline
and I'm going to hide my media pool again.
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And in this timeline, the difference is
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this has broken up this soundtrack
into its constituent parts.
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These are your stems
because every soundtrack
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all comes down to three elements.
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You have your whenever you're working
your soundtrack,
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you have your dialog, you have your music,
and you have your sound effects.
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And all three of those things
need to be separated so that you can
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deliver those because that's
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part of your deliverables, but
also for localization to other languages.
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They may need to change the music
or most likely change the language.
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And so being able to pull those
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elements out is an important
part of the mixing process.
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And so this is just an introduction
to how those stems work.
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And it's also an opportunity to show you
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a few of the other features
for working with your sound.
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So I'm going to come back into my scene
right here and I'm just going to hit Shift
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Z, which is a default shortcut,
which will zoom
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all of your tracks
so that they fit the window,
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as you can see horizontally,
which is nice.
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Now I'm going to talk about
selective playback
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for a minute
because when it comes to selective
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playback, right now I have my stereo mix,
which is up at the top,
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plus the video stem,
and that is my voice stem or dialog.
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I have my SFX, which is my sound effects
STEM, and then the music stem down below.
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And it's those three parts that are really
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combined to create our mix.
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So if the thing is, if I start playback
right now, just by starting playback,
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you'll notice that I'm hearing all of them
at the same time.
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And that's not exactly what I want.
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If I only want to hear one of those
tracks, just press right here.
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This is the solo button,
and that will isolate that track.
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So that's the only one that we hear
during playback.
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And now we're hearing the actual
stereo mix.
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Now, one of the things you'll notice as
we see this let me stop that for a second.
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I'm also going to dim my playback
so it's not quite as loud.
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Over here in the top. Right.
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You'll notice
that we have these monitoring controls.
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And what those do is, as you're
listening level, so I can instantly mute
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or I can
adjust the levels and I can also dim.
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Let me just zoom in on that
so you can see it a little bit better.
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And as you can see, there's my doom
that will knock it down by 15 decibels.
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And you'll notice that it turns yellow
to show me that it has been dimmed
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Any time
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I press it again, it will put it back
to whatever listening level I had before.
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So again, dimming the levels
or you can also mute,
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but that's your entire playback.
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And in this case,
I just want to solo this one track
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and I wouldn't mind
making this a little bit bigger.
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And when it comes to making your tracks
a little bit taller,
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you can just manually grab one track
and make that larger or smaller.
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As you can see,
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if a track is selected, you
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can also zoom horizontally
on that or vertically very easily
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right here is the vertical zoom slider.
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And as you can see,
I can make this larger or smaller.
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Yeah, that's basically changing the height
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and when it's selected,
it makes it really easy
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to see that waveform
inside of that particular track.
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So these are just kind of getting to know
the interface a little bit.
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Now something else,
you'll notice that if I select the track
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that there is actually an outline
on that waveform
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and that is one of our timeline
view options that would be right up here.
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And this is just lets
you choose different ways to view things.
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So as you notice
that if I click on that menu,
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this will give me a few other options
that I can choose.
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For example,
this turns that border on and off,
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so I can choose to include the border,
or I could turn that off at any time.
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I'm actually turn it off right now.
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And there's some other things
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that I will also show
you as we go through this tutorial.
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So any time you want to close that menu,
just click off of it and it'll go away.
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And again, that was the timeline
options Timeline view Options menu,
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which is right next to your vertical
and horizontal sliders.
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So let me back out.
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And so as you can see now,
I can see my waveforms
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without the outline
and I could play those through.
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So this is my stereo mix
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and we have the solo button,
as I mentioned, but we also have mute.
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As you can see,
everybody's familiar with mute.
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And so if at any time
I don't want to hear a track,
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I can also click those to mute
all of the other tracks.
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Or we can also swipe those
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by just swiping across the mute buttons
or the solo buttons.
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So during playback
at any time I can choose
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which elements I want to listen to
and I'm going to do that right now.
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So I'm going to turn off my doom.
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I'm going to start early on and I'll start
by just listening to the stereo
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mix and I will mute these as I just swipe
those on.
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I can start playback
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and I can
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switch that off and just listen to
my voice.
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This would be just the voiceover track
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if I need this one.
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This will save this.
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If I solo this, everything else goes off.
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And now I only hear the dialogs.
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Are you sure?
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Positive.
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Do it so you can slowly decide
which things you want at any time.
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And so that's just giving
you control of your playback.
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So again,
just a nice way to not only understand
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the different elements that go
to make up the soundtrack, but also ways
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that you can isolate which things
you want to listen to at any given time.
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So that would be looking
at your different stems.
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And it's always helpful
when you're learning the mixing process
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and you're working on different tracks
to understand,
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you know, listen to just the sound effects
or listen to just the dialog
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and kind of feel
how they all work together.
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Let's go on to the next timeline.
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We're going to kind of
take this to the next step,
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and I'm going to show you some
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another thing that we really have to work
with to get to the final soundtrack.
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What you were listening
to those final stems
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as, We just have to start
with our production dialog.
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So let's go over to before
and after dialog
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because this will give you a nice idea
of where we started.
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So if you look,
this is the exact same scene with this,
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the sound we're listening to now,
this is the actual, the raw footage.
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And as you can see, this is going to be
the scene without any embellishments.
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None of the extra work has been done.
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This is just how it was on the set.
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I'm going to actually zoom
in a little bit so we can
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see this a little bit better.
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This section just using my horizontal
zoom.
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Now, one of the things to think about
when you're using your horizontal zoom
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is it's always going to be
based on the play head position.
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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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