All language subtitles for 3-DaVinci-Resolve-17-Fairlight-IntroductiontoMixing

Now let's take a

look at some of our mixing tools
in the Fairlight page.

So I'm going to open up another timeline.

Here we go and hide my media pool.

And what we have here is the finished
version of the scene from Hyper Light.

And as you can see,

this is a scene we've been working with
When I go ahead and bring up my meters.

Here you'll see the mixer and notice
I can make this a little bit larger.

If I'd like to see a larger viewer,
or I can resize

my mixer over there on the right.

Something else you can do with your mixer
before you get started is

you can come over to the three dot menu
right there, the options menu.

And that allows you to choose what
you're going to see in your channel strip.

So, for example,
you can choose to show or hide the labels

on the left hand side of your mixer,
or you can go in and decide

which other elements are showing,
like the input and so on.

And so any of those you can show or hide
as needed while you're working.

So I'm going to go ahead

and leave everything set to the default
where we see all the different elements.

And what we're going to look at
is just quickly see all of the different

tracks are available in this timeline.

Now, I'm going to condense the tracks.

You can see there's actually a little bit
more than what we need.

Down at the bottom, you'll see these beige
tracks and what those bass tracks are.

These are some reference tracks
from the actual soundtrack.

So I'm just going to extend those.

You can see this a little bit bigger.

And so the reason it's nice to have a
reference is if you're learning mixing

or if you're starting
a new type of project

that you're not used to mixing that type,
whether it's music or if you're mixing,

let's say,

a sci fi show when you're used
to doing podcasts or whatever it might be.

If you have an example
of a professional version of a soundtrack

that's similar to what you're doing,
you can use that as a reference

to check your levels
and also see how that mixing was done.

And you can use that as a comparison
to help you set up your levels

and kind of learn the art of
doing mixing yourself.

And in this case, I have the soundtrack.

Different stems appear at the top.

This is the stereo mix.

It is not in sync with the video,
but right now this is only here

to help you see
if the levels are right on your system.

And so I'm going to go ahead and unmute
this and solo it for just a second.

And this is the stereo mix,
so I could go to any portion of it

and just check the levels to see
what the levels are like in my room,

how my listening levels are.

And this is a good point
for me to make an adjustment to those

I could do that right here
and adjust my listening levels.

Now, obviously,

if your room has been professionally
calibrated,

you're not going to want
to make any changes to that.

But I'm going to go ahead
and set this year

also your output levels on your computer
itself.

You can come in here
and make adjustments to those.

So I'm going to go ahead and play this.

What,

2 hours
ago is when it was scheduled to act.

So when you play it back, it should be
at a really nice volume level for you,

whether you're working with headphones
or you listening to the speakers.

This is the mix.

So this should give you a nice opportunity

to see this is going to be
the loudest portion of the soundtrack

and so set up your levels
to make sure that's comfortable.

We also have the stems.

If you look down below,

I'm going to mute this track and go down
and here is my stereo voiceover stem.

And you know, the one thing to remember
when you're doing your deliverables

in addition to mixing all of your tracks
together, is you also need to set up the

constituent stems.

That would be your dialog, separate
from the sound effects and the music.

Those all need to be in separate mixes
so that they can be combined later

or separated as needed for doing,
whether it's the trailer

or for doing different vocalizations where
they might want to change the language,

they need to be able to have the

separate voice so that they can revoice it
with someone else in dubbing

and then mix it back in.

So being able to separate
those is very important.

You also need an M and E mix,
which is just the music

and effects in one mix,
which again is the whole purpose of that

is to be able to add the dialog
in different languages as needed.

And so as you can see,
this is the dialog only.

And so I can just play a little bit
of that and check my levels anywhere here.

Y And if you watch the levels, you'll see

just as you might have done in dialog
editing, we want those dialog levels

to be right there in between
maybe minus ten, -15 in that ballpark,

and that's what you'll see
in the meters as well.

I did its protocol.

Exactly as we had set up.

So there's our dialog and then of course
you can see some of these lower

tracks, our reference tracks
for the sound effects and for the music.

So those are all in here
just as a reference

to help you with your levels
and just as a guide for mixing.

But we don't actually need them
for doing our mics.

So since I don't need these anymore,
we'll go ahead and hide those tracks.

So go up to the index inside
the tracks index and we'll come down

to where those reference tracks are
and we can just hide those if we need to.

And then I can just hide my index.

So now that those are hidden
and we have everything set up exactly

as we need to, we can actually get into
the mixing portion of our project.

Now the first thing we want to do
is make sure that

all the levels are set up right.
So let's take a look at our mixer.

And generally

whenever you start mixing,
you want to make sure that your levels

or on your mixer are all set to a unity,
meaning that none of the levels

have been changed yet.

You want to start with a clean slate

so that you can
then be the one to adjust the levels.

Now, everything in theory
has been set up in the track,

so the level should be pretty good.

It's now you're determining

how loud each track is and how
well they blend together.

And so that's just balancing those tracks.

So if I look just at a glance
when I'm looking at the mixer,

you'll see that I can see that
the levels are a little bit lower.

The red lab has been lowered.

Both of these MATLAB tracks are not
at their default, and same with the drone.

So I'm going to go ahead and change those
so that I can be the one

to make those adjustments instead of
whoever might have set this up for me.

So to reset these levels,
just double click on the fader.

And as you can
see, let me zoom in on that.

If you

double click on the Fader,
it will just reset it to unity.

There we go.

And that means there no
a change has been applied.

That's what the zero is there.

And so these are all ready to go.

So all of my different tracks now,
obviously this was the real soundtrack.

I would have maybe 150 or more tracks
here.

In this case,
this is just more for an example.

So the sound effects are all in one track
already.

Same with the music and the dialog
is going to be in its constituent parts.

This is still all separated,

but it's enough for you
to get the idea of what you'll need to do.

So your tracks have all been edited.

The clips are all balanced
within the tracks.

We've set the levels,
everything is zero and now we can start

determining things
based on how they actually sound.

You'll use your eyes watching the meters,
but you're also always using your ears.

And as you make different changes,
you'll be constantly massaging

those levels and adjusting them as needed
until you get what you want.

It's never a set it and forget it
when it comes to mixing sound.

And so let's start off with just playing
a little bit of this from the beginning.

I'm going to just play it in full screen.

I'm pressing P to play in full screen.

So when I play this,

one of the first things I noticing is
and I'll just hit escape to get back

is that the drone is a little heavy,
heavy handed.

I mean, we're inside of a ship.

Yes, but it shouldn't be that loud, right?

We're not in the engine room of the ship.

So the hint of drone,
I get it, but not that much.

Also, the sound effects are a little bit
too heavy as well.

It's just too much.

A little bit is great,
but those are just too loud.

And so let's go ahead and adjust those.

I'm going to mute both of the middle
lab effects so that we don't hear those.

And we're going to start with just that
drone sound and just use your ears

and you're going to come over here
to that fader.

And as you listen,
you're just going to find a level

that's good for you
where it's not too prominent.

I will tell you
now that it will not be yellow.

Did you see the meters, the colors?

You should.

That area in the yellow
is set for your dialog.

Right?

You want to make sure your dialog sitting
in that range between minus ten, -15.

Your sound effects should only be there
if it's something that's loud

and it's prominent.

Definitely not a background sound
unless they might happen to be standing

right next to the engine
and we need it to be that dominant.

Otherwise it should be much lower.

So go ahead and lower.

Those levels will just start playback

and I'll lower that.

So you want to hear it,
but not too much of it.

And so I just did that by muting

the MATLAB effects because I didn't want
those to be clouding what I'm hearing.

And that way I could focus on the drone.

So find a level that you're happy with
and we're done with that drone again.

And any time you think it's
not present enough or you need more of it,

you can always do that.

Now, if you want to add one way
that you could check to see

if your level is pretty good as you can
listen to with and without it in there

by starting playback
and just mute the track

and then unmute it and you'll see what
you'll hear in my even hearing it or not.

So I'm going to start playback

so that

way you can tell whether or not
you're actually hearing your drone sound.

And that's just by toggling on
and off the mute.

So let's now tackle these med lab effects.

Now, here's the thing about the med lab.

Let's go back and look at the video again.

I'm going to go back to the beginning
and I'll go to full screen

for this for a minute
is we've got Filip on a med lab, right?

He's sitting
there. He's got a respirator on.

So we want to hear that respirator.

And you can't have a motor
without the beeping heart monitor.

Right.

So those are two sound effects
that we're using,

but they're all part of one device.

So the goal is to make
it feel as if it's coming from the room.

It's an actual device
that's creating these sounds

so it shouldn't feel like it's
this massive thing, right?

It shouldn't be way off in the corner
somewhere.

It should feel like it's
part of the space.

And so and I'm

actually going to solo those two tracks,
so we'll only hear those for this moment.

And I'll go back to full frame.

There's the sounds.

All right.

So we have Filip on his med lab,
and as you can see, we get an idea,

but we only see the mask at this moment.

Now, if we go a little bit further down
to scrubbing across there, we can see

a little bit more of the machinery,
but we still can't get a sense of scale.

So we'll just look a little bit further.

There we go.

Now, you can actually see the machine
in the background.

So it's really this
and there's the computer.

So all of the sound we're hearing is
coming from this little space right here.

All right.

So we need to keep that in context
as we're crafting what this sound

is going to be like.

And so it shouldn't be

this massive thing,
but we do want it to sound like one item.

So keep that in mind
as we play this through.

And the first thing is we want to be able
to adjust the levels on this.

It's also too loud.

Now, unfortunately, if you look at the
mixer, just zoom in on this a little bit.

I look at the mixer, we have two faders
for our middle lab, right?

We have one
and then we have the other one.

And I'd really like to be able
to use one fader for both.

It's one machine.

Why can't I have just one fader?

And because these are both mono sounds,
I can actually link those together

into a stereo linked group
and that will give me a single fader,

which would solve our problem.
So let's try that.

I'm going to come over here.

Let me reset those faders,
and all I to do to link

this group is to
go up to the Fairlight menu

and Choose Link Group.

And when I do that, I can choose any set

pairs of my mono tracks if I wanted to.

In this case,

MATLAB one and Mid lab two,

and then I'll click the link button
and that's just link these together.

She has got a little badge on it.

These have now been linked
as a stereo pair.

If I close this up
and take a look at my mixer,

let's pull that open,

select the MATLAB
and you'll see there's now a single track.

It's a stereo track for the MATLAB.

I don't see MATLAB two anymore in my mixer

because it's hidden
whenever you link tracks together.

Only the first of those link

tracks only Channel
one is the one that's going to show up.

However, they're all linked together.

You'll see a little band right here
on the left next to the two MATLAB

tracks.

Those Romano tracks,
it shows that they're linked together.

And you also see a little badge
or band around them as well up here.

And so now that I know
that they've been selected, that's great.

They have a single fader.
Let's listen and see.

Did we accomplish what we wanted to?

We have a single fader.

Now we can adjust the volume level.

Let's listen.

Okay.

You notice something strange about this?

We totally broke it before.

It sounded like one machine.

Sort of.

It was just like it did sound like
one thing because it was two mono tracks.

They were playing equally out of both
speakers, the left and right speaker

because they were mono.

Well, now that we've linked them together,
it's treating it as a stereo pair

so that the left channel,
the heart monitors playing out of the left

and the respiration
playing out on the right.

So it actually sounds like
they are on opposite sides of the room,

which is exactly the opposite of what
we're trying to do.

So we'll need to fix that
with our panning controls

and we'll deal with that
in just one second.

Before we do, I'm
just going to take a little side

trip here and show you a little bit
more information about the panning

and what we can do to control
panning between stereo and mono.

And then we'll go in here
and we'll fix it.

So keep in mind what our goal is.

I'm going to unseal this track
and let's just step one track

to the right to our drone track instead.

Come over here to the drone track,
which happens to be stereo.

And what I'm going to do is just select
a little piece of this track.

I'm just going to market in point an out
point.

It's just a drone.

I'm going to go ahead and raise the level
of the drone for this moment.

I'll bring it back down.

I'm going to bring it back up to Unity
just so we can hear it nicely.

And I'll make sure
my loop playback is turned on.

And I'm going to

just loop playback of this while we do
a little experiment with the sound.

What I really want you to do
is see it in the meters.

That's the most important part.

So we'll do that.

And I think
because of the screen resolution

that I have to use for doing this demo,
I think I do want to

hide a couple of things on my mixer
just so I have a little bit more room

to see my channel strip.

So I'm going to come up
to the three point menu in the top right,

and they're going to go ahead and hide
my inputs, which will give me a little bit

of extra space there for my faders.

Here we go.

And I don't think
I have to hide anything else.

That was just the main thing.
Just give it a little bit more room.

There we go.

And then what I'm going to do

is I've got my drone
and I want you to watch the meters.

Okay?

Now, with the drone,
if I were to play that, you'll see

I'll go ahead and dim the sound because
we don't really need to hear it too much.

I want you to watch those faders

and you'll see how it's coming out of both
speakers.

Right?

Not quite equally because this is stereo.

So it's it's a stereo drones. You'll see.

It's kind of dancing back
and forth on both, but you'll see it's

the exact same thing
on both the drone track and the main

now appear in the pan controls

zoom in on that

in the pan controls there

we go Up here at the top,
you'll see that there's these two dots.

Those represent the speakers. Okay.

Or where the source of that sound is.

And this in the middle is showing you just
the balance between your two speakers.

And so as I'm listening to this,
watch your main, because if I change this

to the left, notice that now it's heavier
on the left side than the right.

I'm still hearing the drone
out of both speakers,

but you see how it's a little bit
heavier on the left and the right side.

I can also drag it over here
towards the far right

and now it's much heavier
or louder on the right side,

but it's still coming out of both speakers
at the same time.

I can never get it fully one or the other
based on the fact that it is stereo.

Now we have let me bring it back to the
middle now, my panning back to the center

and you can see it's still doing it
in both spaces is now we have a meter

that's really helpful
to kind of visualizing your sound field

and how our perception is of the sound.

And that is our surround analyzer.

And I just happened to already have that
plug in is sitting right here on our main.

So if you come up here to the main,

you'll see there's a plug in on this
and you can click that to open it up.

And this is your surround analyzer.

Now, if I ever wanted to add this myself,
you can just come down here

to your effects
slot and click here and choose metering,

surround analyzer
metering, surround analyzer.

There it is.

And you can pull it up that way.

It's also located in our effects library
because it is one of the effects

that comes with it
right here, Surround analyzer and

hide the effects library.

So I'm going to go and open that up.

And this is often called the jellyfish
because it looks a little bit

like a jellyfish.

It kind of gives you this nice shape
or a blob that shows the

the radiation of the sound basically
in the sound field, how we perceive it.

And if you look at it, here's
the center, right.

This is your location as the listener

and this would be the left

and the full right speakers
and how we perceive the sound

whenever we hear it.

And so let me just play this again,
looping playback

option in the forward slash.

And as I loop playback,

we just move this over here.

Okay?

So for the drone,
so if I drag it all the way to the left,

you'll see that I'm hearing it
definitely more heavy on the left,

but it's still getting quite a bit of that
sound is coming on the right hand side.

Okay.

Now, if I go the other direction
all the way to the right,

you'll see that now it's definitely
leaning very heavy towards right.

However, we're still getting quite
a bit of the sound

also out of the left speaker, which
you also can see with the other meters.

So, you know,
if I were doing surround sound,

whether it was 5.1 or 7.1 surround,
you would be able to move

this sound all over that surround space
with the listener in the center.

So we can see what our limitations are

when it comes to stop playback
when we're listening to it in stereo.

Now what I'm going to do
temporarily is let's go over to this drone

and right click
and I'm going to change that drone

track to mono
just for the moment for this example.

And when the track is mono, it's going
to come out equally from both speakers.

So as I let's go ahead
and make sure that we've reset this, it's

now dead center
because that is a mono signal.

If I play that loop to playback again,
option forward slash notice, it's

now coming out equally out of both left
and right channels.

Notice there's a single fader
right here for the drone.

And look how it's

exactly the same on both channels
when you're looking at your main.

Let's pan it to the far left.

And this time I get almost
the entire signal over on the left.

Notice there is nothing coming out of that
right channel now.

Nothing.

So this way I have the ability to place
something in a very specific place

within my speaker area, within the range.

And let's go to the other direction
all the way to the right.

And once again,
I can now hear the sound coming out

and I can see that it's fully
coming out of only the right channel.

And you can see that right there
on your jellyfish, too.

So I'll zoom in on that slightly
so you can see that a little bit more.

And as you can see it coming
all the way far right There it is.

Yeah.

So let's pull that back in again.

The jellyfish, it's

actually called the surround analyzer, but
that's just showing it to you visually.

So I'm going to go ahead and make my drone

track stereo again,
change that track back to stereo.

There we go.

And I'll close up my science
round analyzer.

That was just to give you some visuals

on the differences between working
with stereo and working with mono

and as far as being able to actually place
a sound.

So let's get back to our issue at hand.

Let's go back to the med lab
and let's solo that track and our drone.

And by the way, let's

go ahead and lower the drone back
to wherever you had it before.

So it's not too loud.

You can fix that next time we do playback.

And if I listen to my med lab,

I'm watching my med lab right now.

My med lab sound.

Let's go ahead and bring up

on that track.

Let's bring up the panning.

And instead of working with the pan
right here in this small pan or double

click on the pan control here in the mixer
and you will get the full pan window.

And what that will do is it will allow us
to make adjustments to this.

These are all the different controls
that we have for the panning.

I'll just start loop playback here

and this is our signal so I can pan
to the left or I can pan to the right.

But what we really want to do
is we want to make

it sound like it's a mono signal,

so we have much more control of where
the placement is.

And again,

we want it to sound like it's coming from
this machine right here in the background

on our visuals.

So one of the first things we could do
is adjust the spread.

And I'll just zoom in on a little bit
right here.

You'll see spread right there the full.

And so we have

this over a little bit right here.

We have the spread.

So you can see there's the full spread

where these speakers are in the far right
and far left corners, left and right.

And this is where
we're adjusting the signal.

But still, it's going to be
in the far left and right.

But if we change the spread from fall to
point, all of a sudden look what happens.

We're reining that in.

And if we pile that right there
in the middle, 2..

is point.

This is full, then it's
going to sound like it's a mono signal.

Now, all of a sudden,
even though it's two different tracks,

it's going to feel like it's
coming out of one position on our screen.

And so

jump back out.

And now that I've made it a point,
I'll start playback.

And if you look right here
on our main scale, we're getting equal

signal out of both speakers,
even though it's two totally different

sounds in the left and right, we're now
getting similar to a mono signal,

and that allows us to put this
wherever we need it to.

And in fact, he's over here on the left,

so I can just park it
right there on the left if I wanted to,

or it is or I could even put it
right here in the middle.

Because if I ever
go to a surround mix 5.1,

then this would radiate all throughout
and this would feel like

more kind of omnipresent if I wanted to.

It's still in the center either way.

The other thing I'd like to do
is maybe spread this out a little bit.

It's not exactly a point.

A point might be a very small source,
like a watch

that's making noise,
a very small source on screen.

This is obviously not that small.

It's this big, right,
if you look at the screen.

So in order to make it a larger signal,

we can come over here,
we can adjust the spread a little bit.

Right.

And then you also have the divergence,
which is right here.

And that's going to be give you a sense
of scale for the object you're working on.

So you could have a teeny
tiny little radio

or you could have a boombox
sitting on top of your head, right.

And if you were using something larger

than you want to make
it feel like it has more scale,

or you could have a giant speaker
the size of this wall,

which obviously would be
a much larger signal.

And so in this case, if you want to adjust
the divergence that's right here,

you can make that larger
and you're going to see those little lines

and that's how much it's
going to be bleeding in towards

the other speakers,
making it feel like a larger source.

And you can even look
at it in more of an overhead

position if that helps.

So this is now showing how the source
is radiating from the center.

And then so if I place it
somewhere, it's now a source.

And if I look at it, comparing it
to the screen, it's a much larger source

and it's going to feel like
it's to the left,

but it's also going to feel like something

with some substance
as opposed to a tiny little point source.

And I can do all of that by just adjusting
these few settings with my sound.

So we've now fixed the med lab,

although I do want to point it,
put it right here in the middle.

So we balance our tracks and then we do
things like adjusting our panning.

Now obviously the dialog
is all pinned to the center, but

we might also want to do something
with, let's say, eighties voice.

I'm going to clear my in and out points
for a minute.

Eighties Voice She is a computer voice.

She's coming out of speakers
and those speakers are all over the place.

So it's possible
we want her to sound more omnipresent

as opposed to a source because
we really don't have a body for her voice.

And so if we wanted to do that,
let's go to her voice.

One of the things we could do is
we could add a plug in to her voice.

And if you look on her track,
I already have a plug in on there.

There's a Flanger, a DSA.

And if I click on this,
you'll see this is a stereo width plug in.

This is one of our Fairlight effects.

It's right here, stereo width
and what this plug in will do

is this will give you the ability to
adjust the scale if it's a stereo track.

And so, for example,
I'll just play that back.

I'm going to select that clip

so I can do loop playback.

I'll make it a larger so you can see that
will solo that track too.

We're only listening to it.

And if I play it back,

Amelie on a new tune.

Okay,
so there you can hear a million a Newton.

And if you look right
now, it's just a fairly tight stereo.

But I could also change that width
to make it very narrow.

So it sounds like it's mono

Amelie on a Newton or really wide. Yes.

Now it feels like it's
this massive signal, right Coming

riding through the whole room.

And so you could just choose which

where you want that to go to kind of
give it the feel that you're looking for.

And that can be done with a plug in.

So just showing you different options
for managing your sound

and how it's interpreted
within your speakers,

let's go ahead and clear that out.

And so the next thing
we're going to look at

is now that we've done a little bit
leave that our levels are balanced,

assuming
they're balanced on all your tracks,

the relationship between the different
tracks is working and we have adjusted.

Make sure everything is panned as we want,
at least for now.

Then the next thing I want to look at
is some of our sweetening tools

which we have.

We have e Q
and we have compression for that

and you know, there's always a spirited
debate as to which comes first

e cue or compression and compression

is managing the the levels basically
just as you would with luminance.

If you're dealing with color grading,
a color grading

is very similar to sound grading
or dealing with your audio.

You work with levels your whites
and blacks would be your volume level,

and then you work with the color,
which is more the cue,

the color of the sound,
or working with the different frequencies,

as would be your hues
if you were working with an image.

Now, in this case,
because we balanced all of the clips

ahead of time, we've already done
some of that work with the levels.

So I'm going to start with e cue
just for this example.

And our cue is right here
on every single track already

every track has AQ And if you look,
let me bring up my labels.

There they are.

And if
you look at the labels on the mixture,

you'll see that there is the cue
right here.

I'm going to start with the Amelie on It
track,

and we'll just show you a quick example
of what the cue looks like on that.

So if I open this up, you'll see
there is my cue window that gives me

the ability
to adjust the issue on her track.

Now, it would help to know

where her actual voice is,
you know, where's the meet her voice.

Most human voices are going to all fall
right here in the lower

middle section
is where the main part of their voice is.

And then any kind of sibilance
or the high end of their voice

is going to fall in that upper range.

And what's nice about this
I'm going to hide this for just a second,

is that you can actually we have a plug in
that will actually show

you exactly where the voices
and that's our noise reduction plug in.

So I'm just going to add that to her track
just to show you.

And I'm also going to solo her
track for the moment on solo artist track

and then is zoom in a little bit more
so we can really see her clip here.

We'll pick this one as the clip
that will work with for this example.

Eight Identify
the person I'm speaking with. Okay.

So we'll listen to her saying
this particular line a few times.

The level's already
okay, as you can see with that.

But now we're going to work on the E.

Q Now, if I want to see exactly where
her voice falls, what you could do

is come over to the effects library
and we can take the noise reduction,

which is right here, noise reduction,
and I'm going to put it on her track.

Now, again, this is not necessary.

I'm just showing you this is a nice way.

If you're learning about frequencies
and how voices

fall within the frequency range,
this is a nice way to see them.

So I'm going to drop it onto there.

And this has a live frequency
analysis, right?

Built into the noise reduction.

So if I bring this over here

right now, this purple area
by default is what's being removed.

That's the noise profile.

So the first thing I would
want to do is come over and

read,

reset the noise profile
that's right there in your presets.

Notice
there is no noise profile being removed.

Now I have it set to manual mode
and if I wanted to start looped playback.

Eight identify the person.

What is showing me now is as long
as I leave the set to manual mode

and there's no profile being taken out,
I'm not reducing any noise,

but it's showing me anything in white is
show me the actual frequencies

so I can see right here
this is the meat of her voice.

This is some low end happening here.

But you see. That's right.
Where her voice is.

I can even see where her sibilance falls.

Right there around 7.28.

Identify the person I'm speaking with.

So now I have an idea where her sound is.

I can close this up.
I don't even need to keep that plug in.

If I don't want to, I'm
going to hide my fix library.

It's sitting here not doing anything,
not causing any issues.

I can always turn it off if I wanted to

or delete that plug in,
but for now, I'll just leave it there.

It's not bothering anything

and I'm going to come back to that clip
that we were just working with.

And normally when you're working with
your IQ, you don't want to do it so low.

Do you want to do it
with all the other tracks?

You can hear it in context
and make sure it sounds good in context,

but in this case I'll solo it
just to make it easier for you to hear.

For this demo,
I'm going to bring up the E cue,

and when we're working with the IQ,

there is no perfect formula,
There's no secret sauce.

It's going to work on every voice
because all voices are different.

If you're a colorist, there is no secret
that will match every flesh tone.

Same thing with every person's voice.

And the reason that we separate

every voice to its own track
when we're dealing with dialog.

And even if you're mixing music, you know
your vocals all go on different tracks

so that you can treat each vocal
differently.

Same thing here, every voice is different,
and so you find the nuances of a voice

that make it unique.
You might want to enhance those things.

It might be distracting
or the ones that you're going

to want to reduce or attenuate.

And so it's just a very fine line
that you work on.

You never want to hit it with a hammer

unless you're
trying to make the voice sound bad.

So a couple of things that usually work
well is, for example,

I'll go over here to band one, and band
one is just basically my high pass

filter and it's just going to allow me
to roll off some of those

that low end sounds. Her voice.

There was a little bit of stuff
happening in here which there's generally

nothing good
is going to be enhancing a voice.

Anything below 80
but depends on the voice, of course.

So there are no absolutes.

But I'm just going to go ahead and
roll off just the low end,

you know, maybe to 80, 60 to 80,
and that's it.

Just going to roll that little bit off.

So that's one thing
I might do for her voice.

And then another one is
we do things called sweeping,

where you'll take a nice bell curve.

I'll describe this one right here in the
middle, move it all the way up to the top.

Just drag it all the way up
and you'll listen to her voice

while you sweep back and forth
through the media. Part of the voice.

Right, Right around here between,
let's say, 105 hundred right in there.

And you'll be listening.

And any time you sweep across something,
if it sounds makes your eyes squint

and it sounds really off,

that might be something that you might
want to reduce a little bit.

If you raise something a little bit
and it sounds boxier, starting to detract

from the voice that might be an area
you might want to reduce.

And the idea is just make minor
adjustments,

just tweaking those levels as you go.

So I'll just give you an example.
Listen to the voice.

It, identify the person
I'm. Going to sweep this.

At, identify the person I'm speaking with.

Eight identify the person
I'm speaking with eight identify

the person I'm speaking with.

Eight identify
the person I'm speaking with.

Eight identify
the person I'm speaking with. Right.

They're sounding a little bit boxy.

And if I bring it down. Here
to identify the person I'm speaking with.

Just a hair

eight identify
it sounds a little bit better

because sometimes you have a lot of things

happening within the same frequency range.

So by just reducing a little bit,
it'll be a little less muddy

because then everything's
not competing for that same space.

So that sounds a little bit better.

And then another one is,
let me change band 5 to 8 Bell Curve,

and I can also sweep around here
and I can try to find

a little bit of presence, possibly

if I wanted to.

The person

presence is going to be just make it
feel like someone's in the room with you,

someone's a little bit closer to you.

It's especially important
if it's a super close up shot

and you want to make it
feel like they're right there next to you.

It's a little bit breathy or there's a
little bit more presence coming from them.

So it's not
you don't want to bring in Sibilance,

which is going to be
this excessive S's at whistling sounds.

Instead, you're going
to want to back off from that.

So if you find your sibilance,
just move over about three

kilohertz, 2 to 3 kilohertz,
and you'll be right where you want to go.

So that's fine.

The person I'm speaking with eight
identify the person I'm speaking with.

And I'm
just going to bring it over a little bit.

Drop it down. Eight, identify the person.

And maybe that's just
a little bit of presence that I've added.

So those are just a few things you can do,
but you go one voice at a time.

Obviously these are the tools
you can work with now, if you like.

Working with lots of ins or if you want to
have many different levels of IQ.

This is just one
that happens to be built into the track.

But you also have the ability
in our effects library, we have our vocal

channel plug in that you can use
if you apply the vocal channel plug in.

It has a built in high pass filter.

You can add additional echo
as well as compression.

So if you want to add multiple layers,
you can also do it that way as well.

Turn that off for now
hide my effects library.

So that takes you and notice
that once you've added

your cue,
it shows up right there in the graph.

So you always know
which things have been affected.

Now let's look at our dynamics

when it comes to sweetening, which in
whichever order you're going to do these,

that's another one
that's really important.

So let's go down to Philips Track
and what the dynamics is It's going to do

adjust the balance of those peaks
to the main part of your voice.

And so the idea is it's
just taming our peaks.

And if you were thinking about dynamics,
it's the same thing as your dynamic range

you might have.

If you're working with images,
what's your hottest thing?

The white levels, right?

And then you might want to bring those
a little bit closer to your midtown

if you want.

Or you made it.

Same thing you would do here, right?

You're shadows
and you're working with your brightness.

If you're dealing with images, with sound
is you have to use your dynamics

to kind of finesse those levels so that
everything is all the same volume level.

There is some range,
just not too loud and not too quiet and so

let's go ahead and select Philips Track.

We're going to go in
here and open up the dynamics

and continuing to compare this

to working with grading of images.

If you look,

we have four different elements in here

that you can add, and these are already
built into every track.

So a gate is something
that this will eliminate

lower levels or reduce
things that are below a certain threshold.

So if you have some low level noise
in a track and you want to just reduce

that, you can just set the threshold
to that low, low level sound

and anything below that will not be heard
or will be rolled off very easily.

So that's one option.

That's your gate. We have an expander.

And what the expander does is imagine
you had a very flat image

where everything is very gray
and you want to try to bring up

your highlights and kind of give yourself
a little more contrast.

And so what you need to do
is expand between stretch it out

so that you have some things
that are brighter, some that are darker.

Same thing with the X, with the expanders,
you're basically separating,

you're raising the peaks
and you're lowering the

the low end and you're sort of doing both
at the same time to expand that sound.

So it's not everything's
sitting in one little zone.

So that's what you expanders
are going to be doing in this case.

We'll be using the compressor right here,
but we also have a limiter over here

on the right.

We have a limiter plug in,

which is a true peak limiter
that you can put on at the end

to make sure that your sound doesn't
go above a certain level.

In this case, the limiter, as you can see,
it's a sealing it basically saying

nothing goes past this.

So if you have a hard limit,
you can set it here in the track

or you can also do that again with a plug
in or something on your mains later on.

So it just gives you
a little bit more control.

Then turn off my limiter

and we're
just going to look at the compressor

and we're going to do this with Philips
Track.

I just have to find the right clip.

So here we are.

I'm going to come over here
to Philips Track.

And so it zoom in on his clip. Here we go.

Just picking one
that has a lot of dynamic range.

As you can see,
those peaks are pretty heavy right there.

He's got some loud sections.
He's got some quiet sections.

And this has not been

there's not a whole lot of keyframes
that are balancing that out.

Now, before,
if you were doing like dialog editing,

you maybe some keyframes
to massage those levels,

but there's still a certain amount
of dynamic range in there

between the lower levels of the volume
and the higher levels.

Your goal is to keep the average
of the dialog

and basically as much of the dialog
as you can between minus ten and -15.

DB You want to keep it all
within that little space

so that all the dialog is fairly even,
even though there's still inflection

and you'll still he'll hear some people

a little bit louder
and some will be quieter.

If you can keep it within that range,
then dialog will be consistent

throughout your entire show
and from one show to the next to the next.

That's
why we try to keep things consistent.

Otherwise, you know,

if it's all over the place
from one show to the next,

you'll be constantly writing those levels
and you won't hear anything.

So if I were to look at this, I'm
going to just play this little clip.

I will use my range tool
to select the clip and just loop playback.

And what we want to watch right here
is the input levels.

The high play core.

And I have this dimm, So it's not too loud
because I'm not so worried about

you hearing it as I am seeing the levels
right here where the input is.

High play core and.

You see how high the peak is.

We came out of cradle.

So the highest peak is way up here
and then it's coming down as low as core.

You know, a few days ago.

You know, he's talking as he's
exhaling, too.

So we've got quite a dynamic range there.

I mean, I'm looking for a dynamic range
of, you know, all of the dialog

being within three decibels, 3
to 5 decibels of each other.

And this one is quite wide.

And so we're way up to minus five,
maybe in the red.

And then we've got stuff
this way down here -18.

And so the idea is to kind of tighten up

that range in between those to make it
a little bit easier to listen to.

And so what we'll do is we'll come over
here and we have to choose a threshold,

zoom in on that a little
bit so you can see it better right here.

There's a threshold
and if you choose a threshold,

what that's going to do
is that's going to allow you to choose

what is the level where we're going to say
any value, anything that's over

that amount, we're going to start
compressing that, using a ratio.

And so in this case, we'll use -15.

That's our nice spot

where we want the dialog to sit right
between minus ten and -15.

Anything over -15.

What we'll do
is we'll adjust it by a ratio.

Right now it's set to a 2 to 1 ratio.

That means every two decibels over 15

-15 is it will be reduced
and you'll only hear one.

If I were to set this
to, let's say a 4 to 1 ratio,

then every four decibels over,
you're still only going to hear one.

So it's a pretty big reduction.

And then of course, you can really hit it
with a hammer and 20 to 1 ratio.

But we're not going to do that.

Let's try let's a 4 to 1 ratio at -15 ish.

And then if I play that,

if you watch the output,
you'll notice that because I lowered this

anything under minus over -15 watch

over here at the output and you'll see
the level never gets over minus ten.

Now, it came out,
we did just enough of the compression

that the levels are exactly
where we need them to be.

Now, if we were to compress it too much,
you can always make up the gain

right here.

You can always add a little bit of gain

to it to bring it back
in case you had to reduce it.

And at any point along the way,
whether you're using plug ins or, IQ

or in this case, any of your dynamics
as you're processing, if you ever

if the result of that processing
ever lowers the levels too much, there's

always the ability to make up that gain
or raise your gain back.

It's called gain staging,
meaning each stage along the way

you want to make sure your gain
or your level is correct for your dialog.

So you're constantly watching that.

And in this case the levels are just fine

and we managed to keep it exactly where
we wanted to right there in the yellow

in that sweet spot,
even though there's peaks in that dialog.

So that is compression successful.

Glenn Close that up.

I'm going
to clear off my in and out points.

And so that's just working
with our compression, one of many tools.

Like I said, you know,

many of you are probably already familiar
with working with compressors.

That's or dynamics.

That's
just how we happen to use them here.

If you look up at the top of my mixer,

one of the things that's new is
we have this order menu and basically

the default is going to be effects e Q
and then dynamic that's f, e, and D.

If I click on this.

So for each track
I could change the order.

If you would rather have your cue first,
then dynamics and effects,

you can change the order that way
if you'd rather have effects first

and this is the order processing
before it goes makes it to the output.

So that's really giving you an opportunity
to be in control per track,

which depending on what you're doing,
everyone has their favorite secret

sauce for how they like to order
their processing for dialog versus music

and so on.

Now you have the ability to do that.

It's right there in your mixer.

So we've set up

our tracks, we have set up
our dynamics, we've done our sweetening.

Now let's look at, let's say we wanted
to add a little bit of busing to this.

We need to root these things
because at this moment all we have

is one main
and our main happens to be a stereo main.

And I mentioned
at the beginning of this section,

we need to be able to break things up
into the constituent parts, dialog,

music and effects.

And we also need to have an M
and E music and effects

mix that is only those elements
without the dialog.

So how do we do that?

Well,
all we have to do is make new busses.

Now busses are just the way
to get the sauce out, right?

It's just as if it were a water flow
signal.

It's going to go through the tracks
to the faucet, right?

The faucet is your output

and you can also run it through different
pipes to get to the output as well.

You can have it branch off
three different ways and come back

just like you might with sprinkler systems
or the pipes in your house.

The same idea goes for you busing here,
it's just routing the signal flow

to get it to wherever you need.

And so in this case,
we're going to create some more busses

that we can use to kind of control
the signal flow.

And I would you would do the same thing
whether you had 200 tracks

or a thousand tracks as you would
if you have in this case, like ten tracks.

So let's go up to the Fare light menu, and
this is where you can choose bus format.

And this happens to be our legacy
fixed bussing.

Right now, this is one

the bus things where you can choose
to make mains so mixes and auxiliaries.

We also have flex bussing,
which allows you to do flexible busses

where any bus can be patched
any way that you want to,

and it can be used to go from bus to bus,
bus to track, track to bus and so on.

But in this case we'll use the legacy
fixed bussing.

This is just traditional bussing
and you can do

the same idea using either bus method.

So right now I have my main
which is just a stereo main.

Let's make another one.

I'm just going to click main again
and that gives me my second main

and this one is going to be
that M and E main that I mentioned before.

I don't want it to be mono,
it should be stereo as well.

If I was mixing four or 5.1, then
obviously I would be making 5.1 busses

and so on In this case
I'll just do stereo for this example,

I'll go and change the color
as well to something different

just so we can tell the difference
between our MMD and our stereo mate.

Okay, then I also want to make some sub
mix busses.

Now the sub mixes will be our dialog,
our music and our effects.

So let's make three of those.

One, two and three dialog is a mono signal

right now, so we could do it as mono
or stereo depending on what we need.

In this case.

I'll go ahead and keep
it mono and we'll call this

dial,

leave it mono
and I'm going to just change it to orange.

Our news outlets do our effects next.

So SFX for sound effects,
we'll make that stereo

and I'll make it purple for no reason.

And the third one will be our music

and also stereo.

And that one I'll make

a Navy.

Okay, so we now have all these different
colored busses

and we have an assigned anything to them.

Yet all we did was lay out the piping
so that we can run the signal it right.

And then we also have decide where
these go once we're finished with them.

So click okay.

And we've created these busses
and if you look down at the bottom,

when you're dealing with the fixed busing,
you'll see that

my mains go across the bottom.

Let me just zoom in on this a little bit
and you'll see

we now have these little patch panel here
so we can say

I want to patch two main two
or main one this track,

or I can patch to my different sub
mixed busses right here if I like or

what we'll do instead is

we'll go up to the fare
light menu and choose bus assign.

And when you go to bus assign,
this is going to give you a map

of all of your different tracks
and your sub mix busses.

This will show you
all of your busses up here across the top.

If it when you're working with legacy
fixed bussing,

then you're going to see an m
one and M two for your mains.

The one, two and three are sub mix.

One, two and three.

Okay, it's just naming.

So let's go to Main one

and all of the tracks
are running to main one, which is fine.

If I wanted to go, I could have nothing.

Go to main one
and how would I achieve that?

Just select
main one and unassigned everything there.

Now if I play, nothing's
coming out of any of my busses.

There is no signal because nothing
is actually leaving the tracks yet.

Now what I'd really like to do
is let's start with our dialog

and I want to assign
just things that go to dialog only dialog

which would be Emilie
Honor, Philip, Ada and the Room tone.

All of those are going to be my dialog
track.

Okay, done.

Now when comes to my sound effects,
I need everything else that sound effect.

So that will be
my effects is production effects,

my med lab drone and the sound effects.

So all my sound effects are now running
to the sound effects bus.

And the last one is this music bus.

And there's only one track for music.

So music music's
now going to the music bus.

These are my references, so
I don't need to assign those to anything.

So all of those are done.

The sub mixes are finished.

Now let's go back up to that
main at this moment,

nothing is going to the main and instead
of sending every single track to the main,

I'm just going to send these sub mixes,
my dialog, my sound effects and my music.

Those will run to the main
so I can adjust their levels

and all of the signals going to the main.

So if I were to close this and launch.

Spacewalking.

Notice here is my,

here are my different busses
at six pillars open so you can see it.

And just 2 hours ago.

There's the different busses as needed.

In this.

Room and as you can see, my main
and there's my dialogs playing right now

I have so Philip solo,
this reason we're not hearing everything.

And now you can see that
we have there's my main,

there's my dialog, sound
effects and music.

Now let's go back into our patching again

for our bus assignment
and I'd like to do that.

M and E So what's the difference
between the main and the Mini?

Well, I mean, the Mini has the sound
effects and the music, but no dialog.

So that's the only difference.

So those are all patched and ready to go.

I can close it up.

So now I have the ability to listen
to any of those elements as I want to,

and I can adjust the individual faders
for my sound effects

If they're a little too loud
or my music is too loud

and so on, I have individual faders
for those sub mixes.

So the thing just kind of gives you a
little help for taking hundreds of tracks

and narrowing it down to just a few
that you can use for finessing

when you get towards
the end of your mixing

right

up here at the top, you'll see
there is my main

and this is what I'm actually monitoring,
but I can also switch

at any time and monitor.

Now just my mini

or I can switch it to my dialog

and then only hear the dialog
or only hear the sound effects

or only hear the music.

So it gives me a lot of different options
for playback as I go or for monitoring.

Like I said, that's just looking a
little bit with busses and as you can see,

we've been slowly working our way
through the different stages of mixing.

So the next thing we want to do
is let's look at automation.

Just take a quick look at things

that we could do to automate
or to adjust those levels over time.

And to do that, I'm going to go ahead
and open up a different timeline

that's come down here to automation.

Okay.

And switch this over.

So I'm looking at my automation

and what I want to do is we're going to
just spend a little time on this

mid lab track and I'll just add
a little bit of automation to that track.

Again, we still have some bussing on here
and so on.

I'm just going to collect some of this
for now

and we'll focus on these tracks.

I'm going to select the mid lab track
for this example,

make it a little bigger for us to look at.

And whenever you want to do automation,

we go, I can turn this on or off
by just clicking this button.

As you can see,
that turns on your automation tool set.

And whenever your automation toolset is
turned on, you get these controls, Okay?

And what automation does is basically
your writing automation, or as you change

your fader,
as you change any controls, it's

going to write new information
so that you can record it over time.

And there are different controls
so that it will happen and latch

on to every move
you make or snap back and so on.

And so all of these different controls
you can choose to use

depending on what you're trying to do.

So for this example,
I'm just going to do quickly

three different types of automation
on the MIT lab tracks.

First, I'm going to automate the fader,
then I'm going to automate the pan

where it is in a position
between the speakers.

And a third thing is I'll automate a plug
in so that we can see all three of those.

So let's just try it.

And along the way I can kind of show you
which automation tools I'm using.

Now, when you look at the top
in your automation controls, you'll see

me zoom in a little bit.

Your enables and the way that works
is whatever you enable.

That's what can be automated.

If you don't have anything enabled, then
none of those elements can be automated.

This gives you ability to only work on
the things you want to at any given time.

So I'm going to start with the faders.

We're only going to work
on the med lab effect.

Okay,
so I need to go find my med lab track.

I'll put these back,
go across here and find.

There it is.

There's my main lab track right here.

This is what I'm going to be automating.

So what I want to do is change
the level of the labs during playback.

So it's a little bit louder
at the beginning,

and then it gets quieter
once they start talking.

And that's going to be super easy
for me to do.

Now, if I look over here,
it's in right mode,

which means I'll be writing
more information.

If I was in trim, that would be
I've already recorded automation.

I just want to kind of finesse
those levels.

In this case, I'm in right mode.

I'm going to set it to latch,

which means anything
I do with my mouse or anything I do.

If I was on my console, it's
going to latch on to that movement

and as soon as I release it will do
whatever I tell it to do when I release.

So Latch is turned
on, when I come over to this

section is set for my latch mode

and then on stop when I let go, it's
going to do one of three things.

It's going to hold at whatever level
I have.

It's going to return to the level
that was already there or event,

which means it will hold on
whatever I'm doing up

until it gets to the next keyframe
or the next piece of automation

information for that parameter,
and it will stop.

So theoretically, you could just set
if you're just fixing one little section,

that's the part that will get adjusted.

It won't roll over any other automation
you have within that track.

So I'm going to go ahead and leave this on
hold.

We're going to adjust the fader
and the fader, only

I'd like to see that fader curve.

So I'm going to come over here
and set this to fader level,

and the last thing I want to do

is set this particular track to right mode
by just clicking this button

at automatically
setting it into right mode.

It's ready to record information.

And if you look at my fader over
on the right hand side, you'll see that

the fader has turned red to indicate
I'm ready

to record automation to that track.

So I'll just start playback.

So I'm clicking and holding this

and then I'm just going to lower the level
a little bit.

As Philips starts walking across the room

is watching

and slowly lowering the level

and I can leave it there if I wanted to.

Okay, so that is my levels.

Now notice

that I'm only hearing
my background effects

because I have that set right now
to only playback background effects.

I'll switch this back to my main
so that way I'll hear everything

during playback

and there
you can hear those different levels.

And so as you can see, I've just recorded
the automation to that track.

Now let's try the next one I mentioned.

I was going to do Pan,
so let's come over to change this to Pan

and I'm going to I'm going to adjust
both the left, right and the front back.

Let's open up the pan window
so you can see it.

Remember having this sitting
right here in the middle.

So what I'd like to do is start it
so it's on the right hand

side of the screen because that's kind
of where Philips Head is.

And then as it moves
across the screen at the very beginning,

I'm going to slowly
pan it over and then park it on the left.

And then when I get to this red marker,

when they're at the table talking,
I'm just going to leave it back here

in the center.

So at the moment it's in the position
I actually want it to be when I'm done.

So we're going to end up right here.

And to do that,
what I can do is I can actually mark

that spot right now on the automation
curve for the panning.

And that way
it will return to this position.

So let's go ahead and set that up.

I'm going to come up here
and enable my pan and disable Fader.

Then I'm going to come over here
and instead of

on stop return, I'm going to go to event.

And that means when it gets
to any kind of automation, it will stop,

will leave it set to latch mode.

And then I'm right is fine.

And then what I'll do is I'm at the red
marker where I want the change to be

as let's go over to the pan control

and right

here and pan, I want to see my left right

and go ahead
and turn this into right mode.

And you notice it's sitting here
ready for something to happen.

Everything is turned
red right here, right.

And what I'm going to do
is take this pencil tool and just draw

a little bit of automation right there.

See how I just did a little scribble
right there.

So I'm basically locking that position
for my left right at this moment in time.

Okay.

I'm also going to switch this over
and pan to my front back.

I'm going to do the same thing,
get my pencil tool there,

and I'm just going to kind of scribble
a little spot right there.

And that way I have set some automation
to it's absolutely going

to come back to this position
for both front back and

left.

Right.

Okay,
then I can come back to the beginning.

I'm going to turn off my pencil tool.

I don't need that.

I'm just going to go back to my arrow

and I'll be ready for this
to do something right.

And so now I can have this

make any kind of adjustment
that I need to.

And so again,
just making sure that we have this set.

Now, as I mentioned, Mark, your setting,
as you can see there, it is.

And if I want to make a change, I'm
going to go ahead at the beginning of this

and drag it to the new position,
which is going to be over here.

So that's where it's now going to start.

This is where it's going to start.

And I can see that both in my left, right
and in my front back.

As you can see,
there's a little bit of difference there

in my pan curve.

And what I'll do is
I'll just start playback

and I'm going to move this

as he's moving.

I'm automating

that position and I'm going to park it
right here on the left.

They look to the left, so they're looking
right there where I have it panned.

Still there on the left.

It works.

He walks across the room,

still on the left.

And I can actually stop at this point
because it's basically

just going to stay in there until I get to
that point that I had marked.

So there you go.

I was able to automate the planner just
by setting that one point ahead of time.

So those are two.

Now, let's do the last one.

Last thing I wanted to

automate is I'm going to turn off pan
and let's go over here and do a plug in.

Now, I haven't actually added a plug
into this.

The plug in I'm going to use is an echo

and you probably think, Well, well,
that's pretty dramatic, right?

It's not going to be a heavy echo,
just a little bit of an echo.

And what it will be is any time we see
we're right there next to Phillip Medland.

Phillip, we won't hear an echo,
but any time we were away from him,

we'll add just a little bit of an echo.

And what that will do is
give the sense of, you know,

it will be a reminder that he's there.

But we also know

that we're kind of farther away from him
just to show you how that would work.

So first thing I need to do is on this
track, I'll add a plug in and here's

my echo. Now, obviously,
I don't need a massive echo.

I'll go ahead and
set this up to a large hall.

Hey, there we go.

That's our preset.

Now, obviously,
that's going to be pretty dramatic.

You hear that?

So we'll go ahead and leave.

Sort of dramatic.

But my goal will be to adjust
this wet, dry.

And what we're going to do is we're
either going to have this all the way dry

or wet one or the other.

And so we'll just ride that level.

So if he's right in front of us,
it will be dry.

If he's not in front of us,
it will be wet.

So let's try that.

We'll start with it dry and I need to
make sure plug in is turned on.

It is.

And I have to come over here
and let's choose the plug in this time.

Any plug in that I have applied to that
track will automatically show up here.

It's set to echo
and let's make it dry wet.

That is the one control
I'm going to adjust in this case.

So there we have it.
So let's go to the very beginning

and I have the set.

I'm going to set it to right mode
so it's ready to go.

My wet dry is exactly where I want it.

I'm just going to watch my screen.

I'm in the top right.

Might make that a little bit bigger

so I can just see it better

and I'm just going to watch it
and just ride that wet dry.

So here we go.

It's dry.

That gives us a sense.

She's further away from him in a room

dry again because we're right next to him.

Now he's further away.

So as you can see, I'm
just giving it a little bit of realism

to the shot.

I can stop playback now because we don't
go back to another close up.

But as you can see,

the combination of those three things
really bring this track to life.

And this is just scratching the surface
on what we can do with our automation.

And in this case,
I only did it to this one set of tracks.

So that is our automation
and those are most of our controls

that you would use
for working with your mixing.

Now, what I would like to do
is I'm going to reset my UI layout,

so let's go back into work
workspace, reset UI layout.

And now what we're going to do
is we're going to come over to the media

pool and I'm just going to kind of fast
forward to a different timeline here

and just show you
a couple of things like our bus tracks.

So although I just showed you automation
on one track, something else

you could do when you're
working with automation is you have

your bus is will also show up
as tracks in the timeline.

And this is only when you have
automation turned on.

So for example, let me hide my media pool
and bring up my index.

If you look at your tracks index
and let me zoom in there

so you can see that a little bit better
and look at your tracks index.

You'll see that in addition
to all of your tracks here,

you'll see that

all of my busses are also showing up here
so I can actually see my busses

and automate the bus tracks
right here in the timeline.

You can even draw in automation
if you wanted to.

So there's the automation that's been
applied to those tracks, which is great.

And I'm
just going to go to the beginning of this.

You can see I have some automation
on those tracks as we had before,

but you can also see towards the bottom
that there's automation on the tracks as.

Well, as here on the clips and tracks.

Now one of the things that often happens
when you've applied automation

is that you may need to move
an entire show over a little bit

to make room, let's say, for titles.

Now, if you have to actually pick up
a show that has

already been edited and you have
all of the automation on there

and you need to move it over,

you want to make sure
that the automation moves with your clips.

Me hide my index,
make this fit to the window.

I'll just reduce this a little bit.

And one of the things you want to do
if you're are moving

something that has automation
applied, is make sure it's turned on.

Because if automation is turned off,

then you're not going to know
where your automation is and it won't be.

It's just turned off
globally at that point.

So we make sure we turn it on

and then the button you want to pay
attention to is this one right here,

because this is your automation follows.

Edit And as long as that's enabled,
which you can tell, I've clicked on it

so it's brightened, right
there is automation follows.

Edit Which is the default.
That means the automation.

If there's a clip in the track
or clips in a track,

the automation is not only assigned
to the track,

but it's also on the clips themselves.

So if you move the clip,
the automation goes with it.

And I'll just show you an example of that
I'm going to turn off.

Automation follows.

Edit And if you watch, I'll move this clip
right now, this track a little bigger

if I move this over, notice
the automation stayed and the clip moved.

Well, that's not what I wanted to do.

I'm going to undo that this time.

I'll turn on automation
follows edit and I'll move the clip

and you'll notice that it moves with it

and would also work if I were to cut, copy
and paste it somewhere else.

That automation will stay with the clip.

So in this example, just to

finish that off, we'll get to select
everything in this timeline right now.

And if I want to select it

all, just command a select
every single thing in my timeline.

And as you notice, it's even as selected
the automation

that's applied to those clips.

Now, if I wanted to move this by ten,
let's say 10 seconds,

well, one of the things I could do is
I could just cut everything right

now, and I'm going to make sure my place
at the beginning just to keep track of it.

So my place in the home position.

And if I command X or control X, if
you're on a PC, I've just cut everything.

Notice it's now a clipboard
image, it's a ghost image,

and I'm going to come up to my time code
field here and I'm going to just

type plus to meet, meaning move forward

ten and period,
which would be ten zero zero 10 seconds.

I'll hit return and notice
it just moved everything over.

And you can see that
the ghost image also moved as well.

And then I can paste command Z.

And as you can see, not only did
I move it over by 10 seconds, but I also

the automation stayed
exactly where it needed to on this clip.

So that's just something to keep in mind.

If you are automate working
with automation.

One other thing that's very useful
when you're working with automation

and you have your bus
tracks is check this one out.

I'm going to just pull this open.

If you look at your main,
you will see that in addition

to the automation, you can also see
a loudness summary right here.

If I turn on my loudness history,
this is a graph.

You don't automate your loudness history,
but it allows you to watch

your entire the loudness as you play
through on your loudness meter.

I can reset, I can start,
and if I play this through,

which will start any second, it's
going to actually record the loudness

right there.

Exactly the same information
that's in my loudness meter

when it in playback is
you can also see this in a graph

and what's wonderful about that is if for
any reason your loudness levels are off,

instead of just seeing a red signal
on your loudness meters

or yellow, meaning within tolerance,
you can see exactly where it happened

so that you can adjust the levels
as needed right here in the timeline.

So you'll only find
that when automation is turned on.

Notice that if I turn off automation,
you will not see it

and it's only going to be on your main
track.

Main one, we turn it back on.

So you can see it one more time
and I will hide that again.

So the last thing is delivery.

Of course,
if we want to take our finished project

and actually export it or
get it out of our DaVinci Resolve system.

So let's go to the media pool.

I'm going to open up one last timeline

as our mics for stems right here.

I have this timeline we were just working
on or something very similar to that.

If I'm completely finished with a project

and I want to export it out,
whether I want to bounce

the entire thing is a mix
or just part of it as a mix.

Things to think about are
if you have automation applied,

make sure it's turned on.

Because if it's not turned
on, you're not going to hear it.

So make sure that's turned on.

And then the other thing
is, what is my intent?

What am I actually trying to do?

Am I trying to bounce this entire thing
as a single file, a single file?

I could do that right here if I wanted to.

By just bouncing the mix to a new track.

You can also do that same export
over here in the deliver page as well.

So first thing I want to do is
let's just say we want to bounce

only our dialog,
say we want to make a mix of our dialog.

Well, our dialog is all going to what over

dialog is going to a dialog bus.

So we could just bounce that
if we wanted to,

depending on what our output is.

And it's just a matter of kind of thinking
through what you're trying to achieve.

Let's go up to the timeline menu
and if you look right here,

bouncing mics to track
this would be a mix of the entire show.

At this moment, everything is available.

There's nothing
that's been slowed or muted.

So let's go over here to bounce mics
to track and open that up.

And this will let you choose
what exactly you want to bounce and wear.

And bounce again,
is just rendering out a new file.

So if I want to bounce my stereo main to a
new track, then that's all I have to do.

And I will get a stereo
mix of my entire show done.

If I have a51 mics and I want to bounce,

it will bounce that to a51 track.

Or if I only want to bounce my dialog,
which is right

here, my subjects, I could bounce that
to a new track as well.

So right now
I'm bouncing my main and my dialog

and I'll just click okay
and it will create two new tracks.

One will be just my dialog
and one will be my mix.

Select both of those and it will zoom in

and there we have it.

That's what
I just created in about 2 seconds, right?

And here is my stereo mix.

Eight Identify the person.

Of my show.

And if I were to listen to this one,
this is the dialog stem

to be a million to new to

all the levels, everything is exactly
as it would have sounded

if I was listening
to the individual tracks.

Now, where did these bounce files go?

If I look into the media pool,
you'll find them.

They all just dumped right into whatever
being I happen to have selected.

Once you have created one,
you can actually go in there

and rename it if you wanted to.

You can export it right from the timeline,
give it a name and export it this way.

Or you can also deliver
from the deliver page as well.

And for this example,
let's open a different timeline

and I'll just show you a way of delivering
from the deliver page.

But let's open up a different timeline.

I'm going to go to this one called
Finishing Start, and that will wrap up

our little story on
going through the entire mixing process.

So at this point,
what we're looking at here is stems.

We've got the entire show.

We have the stereo mix, which you just saw
to make right there in the timeline.

We also have my dialog STEM,
my sound effects STEM and my music stems.

I've all of those

have been created very easily
just by bouncing out those sub mixes.

I could have created these

or recorded them back into a track
if I preferred their they are now.

Something else that I have though, is

because I also needed surround
deliverables for 5.1.

If you notice down
here in these lower tracks

and you'll see I have

just enough tracks, six channels
for my 5.1 surround mix that's so low.

Those were only listening to them.

Right now I'm listening

to this 5.1 just through a stereo main.

I want to change it,
so I'm listening to it through

my 5.1 and notice
now it's listening to it that way.

Unfortunately, every single bit of that

signal is only coming out
through the Signal Center Channel. Why?

Because these are all mono tracks.

Each of these is a mono clip
and they're all pinned to the center.

Check it out.

You can see that if I open up my pan
window, you can see every one of these is

pan to the center, which would be
why I'm seeing it pan the way it is now.

I could manually go in there
and re pan these,

or I could just link these as a group,
which we've done before.

Let's do that.

It has nothing to do with selection.

It's all done up here.

All you do is come up to
the Fairlight menu Link group

and select that

and it's going to bring up the link
group window inside of here.

I can choose any number of these.

Of course I want all six.

It's automatically going to ask me
if I want five one film or five one.

I want to have just five one,
which is going to put

that's going to have the center channel
will be my dialog, which is how I like it.

So left, right, center, lfi
left, surround and right surround.

These are all linked together
to a single fader, as you can see right?

If I open up the panning, there it is.

All the painting is dead on.

The only thing that hasn't happened is
my left is not turned on.

I need to turn on my boom.

I can even adjust the level on that

which I will manually.

And so now I have this all set.

I'm getting my surround 5.1 out.

Well, that's great, except I actually want
to deliver these as separate units.

I don't really want them all together.

I linked them in order to get the panning,

but now I can go back up to Link Group

and just select those and unlink them.

And as soon as you unlink them,
the panning stays.

Everything is still panned
perfectly for surround mixing.

As I played back,
you can see there's my levels.

Everything is playing back
exactly as I want.

I'll just mute the playback.

You can see the meters.

Okay.

I could run my loudness testing
if I wanted to and everything is good.

So I have exactly what I wanted
right there.

Okay,
so now that these are set for delivery,

I what I really want to do is
I want to deliver everything

I have in this timeline exactly as it is.

Well, let's go over to the deliver page,

the final step now, of course,
many things you can deliver

right from the fear page,
but by going over to deliver page,

now we have up here at the top,

we have all these different presets
we can use for audio only.

If you're just going to deliver audio,
you can go in here and create a custom

audio delivery if that's what you want.

Or we could be delivering
a custom video clip

with all of the audio connected,
if that's what you want to do as well.

Let's just do that
because we can we'll call this

a final hyperlink.

Fine. I'll just throw this on the desktop

because everything's good on the desktop
right at the moment.

It gives you several choices.

You want this as a single clip
or individual clips.

One clip is only one single
clip. At the end

we are going to export the video,
so I'll just leave this checked.

I'm not going to change anything.

I'll just leave all the video
video settings exactly as they are.

I'm going to go to the audio settings now
and we have some choices here.

Everything
I'm going to keep exactly the same.

But there's a couple of choices here
that might make a difference.

Depending on what you're working with.

You may want everything
rendered as a separate channel.

And if that's the case,
you would check that box.

If you to rent or just render discrete
audio tracks, you can do that.

At this moment it's only exporting my
main, but I can change this at any time.

I can say actually I want to export
only my five one with this video clip

or only I can choose
exactly what I want it to do.

I could do individual timeline tracks.

If I choose that, then it's going to say,
Well, which track do I want?

My stereo?

Which track?

I could say, I want several tracks.

I want track one track two and so on.

And I could do it that way so you could
choose exactly which elements you want.

All you have to do is look
and you'll see exactly what it's doing.

Or another option.

If I actually had it set up
exactly the way I wanted it to in my page,

then I could just come over here
and say all timeline tracks

and then exactly what I had set up stereo

each stereo system followed by the five
one all six channels of the five one mix.

And let's say
that is exactly the configuration

that I needed for my delivery.

Then I could set it up
that way to all timeline tracks

and then add that to the render cue

and then render that out and
I will get exactly what I was asking for.

So whatever it is you're trying to create
whatever combination you need.

You will find those choices
right here up at the top,

including Dolby Atmos master files
and so on.

So hopefully this gives you a an idea
of some of the deeper mixing tools.

You've seen what we can do
with sound design and mixing,

and now you can apply those
to your own project.

So thank you for watching.