Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
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Hi, I'm Mary, and I'm going
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to show you the Dolby Atmos integration
in the Fairlight page of Da Vinci.
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Results 17. Let's get started right here.
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I have an empty project,
and I'm going to go in and actually make
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a brand new project right here
with nothing in it, not even a timeline.
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And I'm just going to call this
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Dolby Atmos just so
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we have a name for that project,
and I'm going to hide
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the venture result for a moment
and come up here to the actual media
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that we're going to be working with.
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We have a video clip
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with a stereo soundtrack,
and then we also have a broadcast
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wave file, which happens to be an Adam
file, a Dolby Atmos master file.
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We'll be working with both of those
right now in the Fairlight page.
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So going to go back to Fairlight,
and what I want to do is just import
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those two clip.
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So I'm going to right click Import Media.
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We'll go over to that order I was just on
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and we'll select both of those clips and
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bring those into my project.
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And here they are.
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Now, if I select the first clip,
you'll notice that is the movie clip.
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And there is the stereo soundtrack
as mentioned.
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And if I selected this file,
you'll see that
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this is actually the broadcast wave file,
which is also in Adam.
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And as you can see, that is a Dolby Atmos
master file.
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It's a full master file right there.
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You can see it in the preview player.
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And you can also find out information
about a clip over here
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in the metadata panel.
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So if I come over to the right
and select metadata,
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you'll notice that it will show me
the information about any selected clip.
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At this point,
I can see this is a Dolby Atmos file.
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And if I select the original,
you'll see that that is just an h264
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with a two channel stereo file.
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So those are the materials
that we're working with for this.
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I said, I'm going to go ahead and hide
that metadata now.
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And what I'd like to do first
is just bring over the video clip.
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Now, I don't even have a timeline yet.
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And one of the things you can do in
the Fairlight page is
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you can actually just drag and drop a clip
right into that empty space
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where there would be a timeline
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and it will create it for you and match
the media that you're bringing in.
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Now, I'd also like to make sure I'm
showing my video track, so I'm going to
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come up here to my timeline view options
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and make sure the video track is showing.
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And that way by selecting that
when I bring in the clip,
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I'll get both the video and audio
at the same time.
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So I'm just going to take this.
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I also want to make sure
my snapping is turned on
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and that way it will start right
at the very beginning of the timeline.
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I'll grab that video clip
and just drag it over and it will
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automatically create the timeline
with both the video and audio tracks.
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As you can see, I'm going to hit Shift
Z to fit it to the window.
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As you can see right here,
I can click anywhere
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and this is the file with the stereo
sound to channel.
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Stereo sound. I can play it back
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and that is the file that I just imported.
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Now, if you look over here on the right
in the mixer, you're going to see that
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it shows a stereo track with two channels
and you also see the bus.
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There's one bus,
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there's every project, and every timeline
has to have at least one output bus.
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So automatically a stereo bus
was created to match the media
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that I brought into the timeline.
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And watch what happens to that, though,
if I bring in this
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master file right here
Now, this is the Adam master file.
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And if I bring that down to the timeline,
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I'm just going to drag
and drop it to the next track.
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It will automatically create
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a714 track for me.
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I can zoom in on that
so you can see a little bit better.
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As you can see this is a714
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format.
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That means this is the master file
right there in my timeline.
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And if you look at my bussing over here
in my right here in the mixer,
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you'll see that it's now playing back
all of those channels.
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And so automatically
it switched it over to a Dolby Atmos
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bus for output and playback.
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And so the one of the reasons that works
so well is because we have
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the Dolby Atmos renderer built
right into Da Vinci results.
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So if you're using DaVinci Resolve Studio,
you have full access to the internal
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Dolby Atmos renderer,
which allows you to playback
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a atmos master file.
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And it will also allow you to generate
or create your own
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Dolby atmos content as well.
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And so we now have this playing
back in the timeline.
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Let's take a closer look.
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I'm just going to compress these
a little bit and expand that track.
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And when I do that, you can see that
there's actually a badge on the
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right there
on the left side of all of those channels.
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And that shows you
that this is a Dolby Atmos master file.
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That's what
that logo show says or that badge.
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And so I can actually see
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this is the entire clip right
here, and I can play it back as is.
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I'm going to go ahead and mute that stereo
track and then I can play this one back.
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And the one thing I haven't done is
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I haven't tried to sync this to the video
and I can see Shift Z If I look,
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I can see that the video and audio tracks
don't exactly line up here,
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and that's
because they are a different duration.
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And so one of the things I need to do
is just re sync these.
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So I'll just select both of the stereo
and the video.
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It goes with it and I'm just going
to move those and snap them to the end.
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Here we go.
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And that way they will be in sync.
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And you're probably wondering,
how do I know that
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without listening or looking, It's
because I've done this a couple of times.
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And I also know that there is a two part
that the beginning of this.
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You hear that too, Pop.
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That tells me
that the picture star is 2 seconds later.
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And so I just need to be on that
first frame, move over by 2 seconds,
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shift right Arrow And I can see that
this is starting exactly 2 seconds later.
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So that is how I know that it is in sync.
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And then I could play this back
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and there it is.
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It's playing back right there within Atmos
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in order to use Dolby Atmos again,
you do have to be working
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with DaVinci Resolve Studio,
but that then gives you full access
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to not only playback
Dolby Atmos masters in your timeline,
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but also to be able to generate
new or export new master files as well.
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So now I have this set up.
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Let's see what else we can do with this.
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We can make our down mixes right now.
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Just by going in there and bouncing out
or rendering out a down mix.
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I can do that right in the timeline
if I need to.
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So the other thing we can do
is change the playback format
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so that at any time I can change this up,
Sam only have stereo speakers,
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but I want to be able to listen to it.
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So instead of having it as a714 or file,
I can just change it to stereo.
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It will still be a Dolby atmos
master file.
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I'm not actually changing
any of the contents within and it will
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is still fully expandable
to any system that I need,
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but at the moment I can change it
to whatever my playback is.
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And so just to show you how that works,
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I'm going to go ahead
and change this to stereo.
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And when I do that, the Dolby Atmos
renderer or the internal render
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will go ahead
and then just play it back as stereo.
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How do I do that?
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I'm just going to come over to the clip
itself,
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right click on that clip and change
those clip attributes.
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So if I go to clip attributes,
I can now change the playback for format.
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So right now it says Dolby Atmos 714,
and instead I'll change that to stereo.
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And when I do that,
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even though it's still a
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master phone,
as you can see, it still has the stereo.
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I mean the Dolby badge
and I know it's in stereo,
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but if I change my track
now to stereo, it's
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going to play it
back as a stereo down mix.
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Okay, So I'll be able to listen to it
in my speakers
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and I'm not diminishing it at all.
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If I go to export it,
it will still work perfectly.
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Okay, So let me make sure
I have this in sync and we go.
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And so that's that.
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I can actually do something with this.
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I can render this out right now
by just bouncing this file to a new layer.
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And that's exactly what I'm going to do.
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So I'm going to first mark the clip.
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I'll use my range tool and market,
and then I'm going to come up here
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to the timeline menu and choose to bounce
the selected track to a new layer.
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And any time I do that, it's basically
going to bounce this
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into a layer
sitting on top of the original file.
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So I'm bouncing out a stereo down
mix of my Dolby atmos master right now,
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and this is just a two channel down
mix that I could then send out
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or someone could be using for localization
or whatever they might need it
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for on a system
that may not be Dolby Atmos.
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And so if you look,
the bounced file is now
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in my media pool
and you can see it right in the timeline.
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Let me just zoom in on that
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and you can see that's
what the stereo dynamics looks like.
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I can then play this back
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and it should sound pretty good.
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There it is.
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And because it's over here
in the media pool, I can also rename this.
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And one thing about naming conventions
is obviously you don't
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ever want to rename your file names
because that makes things
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so that they won't reconnect
to the rest of the project and so on.
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But what we can do in DaVinci Resolve is
you can actually give things clip names,
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which is like a nickname
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where you can give it a name
that's more familiar that works for you,
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and then you can actually export it
using that nickname or the clip name
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and you can also then see it
that way in the timeline as well.
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So I'm going to show you how to do that
right now.
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We're going to take this bounce file
and I'm just going to name this
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and Efferent Nature's Fury and then
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stereo
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down mics. There you go.
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So it has a name
that I actually mean something to me
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now, in the timeline,
it's still has the original name, but
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I could show this clip name instead
by going up to the Fairlight menu
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down to the bottom, where it says
view clip info display right there,
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and then I can choose
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what I'd like that info to be,
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and I'm just going to change it
from name to clip name.
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And so by doing that
now, it's going to show the clip name
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not only in the media pool,
but if you look in the timeline,
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you'll see that it's
now showing a stereo down mic.
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So it's got the name that I just gave it.
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So that is one thing I can do with this.
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Now, something else,
I don't have to leave the sitting here.
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I could actually just drag this
right off of my master file
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and just stick it
right here in the timeline if I want to.
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Now, I still have that original stereo
file, which I really don't need right now.
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So what I could do is just hide that track
any tracks.
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You don't need to see it
any time we can hide it.
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It's already been muted.
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And if you want to hide a track,
you just go into the index to do that.
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So I'm going to hide my media pool first
and I'm going to go to my index
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and I'm going to choose that
first audio track and just hide it
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so I can make it
any time a track, hide or show
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by just clicking on the visibility
icon right there in the track list.
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So right here you can see in the timeline,
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I have my Dolby Atmos master file,
which is playing back in stereo right now.
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And then below it I have my down mix.
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So next I want to actually make a 5.1 down
mix as well.
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And so I'm going to go up
back up to my Dolby Atmos master,
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that track, and I'm
going to change the track type to 5.1.
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And there we go.
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So I just made it into a 5.1.
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I need this Dell mix format for localization so that I can show or hide the,
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let's say
the center channel where the dialog is.
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So that'll be easier for dubbing
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and maybe replacing the music
and things like that.
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So how do I turn this back into a 5.1?
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I just changed the format again
in clip attributes.
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Keep in mind
that at any time with any clip
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you can change the attributes
to another format
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and you can also change your tracks
at any time and your busses
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to whatever format you need
while you work.
228
00:11:57,083 --> 00:12:02,291
So at this point, I'm just going to right
click on this and go to clip attribute
229
00:12:02,375 --> 00:12:05,250
and change it from stereo to 5.1.
230
00:12:05,250 --> 00:12:08,333
It automatically is going to bring up
those channels and click okay.
231
00:12:08,541 --> 00:12:13,041
And now I have a 5.1
version of the Dolby Atmos Master file.
232
00:12:13,125 --> 00:12:16,041
Keep in mind that it's just playing back
through the Dolby Atmos renderer.
233
00:12:16,041 --> 00:12:18,416
So whatever format I have, it's
automatically
234
00:12:18,416 --> 00:12:22,208
doing all that work, all those algorithms
and everything that's, that's down.
235
00:12:22,208 --> 00:12:25,708
Mixing it as I need to
is happening all under the hood.
236
00:12:25,791 --> 00:12:28,500
And so now I'm going to
I'd like to bounce this as well.
237
00:12:28,500 --> 00:12:30,625
So once again, I do the same thing.
238
00:12:30,625 --> 00:12:35,916
I need to just market first, which I'll use my range tool to easily mark that clip,
239
00:12:36,000 --> 00:12:36,333
go back
240
00:12:36,333 --> 00:12:39,333
to my arrow tool, and
then I'm going to go to the timeline menu
241
00:12:39,333 --> 00:12:42,375
and say bounce
selected track to new layer.
242
00:12:42,375 --> 00:12:47,000
And once again,
it's going to bounce a down mix for me
243
00:12:47,083 --> 00:12:49,583
and this time I'd like to actually
check this down mix.
244
00:12:49,583 --> 00:12:52,666
Let's say
we need to make sure that this 5.1 down
245
00:12:52,666 --> 00:12:56,208
mix is good for loudness,
good for Netflix, for example.
246
00:12:56,333 --> 00:12:57,208
So what we'll do
247
00:12:57,208 --> 00:13:01,000
is we'll do an analysis on it
offline analysis to check the levels.
248
00:13:01,041 --> 00:13:05,375
And then if they're not quite right,
we can run some normalization
249
00:13:05,375 --> 00:13:08,000
for the same loudness
standard to make sure it's right,
250
00:13:08,000 --> 00:13:13,625
and then we can even export that out
knowing that it's in the correct levels.
251
00:13:13,625 --> 00:13:16,166
So I'll show you that just one second.
252
00:13:16,166 --> 00:13:16,583
All right.
253
00:13:16,583 --> 00:13:18,458
So we just finished that down mix.
254
00:13:18,458 --> 00:13:22,000
Let me come over to when I hide my index,
go back to the media pool
255
00:13:22,000 --> 00:13:23,791
and you can see the down
mix was just created.
256
00:13:23,791 --> 00:13:26,333
I can see it in my media pool right there.
257
00:13:26,333 --> 00:13:27,791
It needs a name.
258
00:13:27,791 --> 00:13:32,708
So I'll go ahead and name
this and F for nature's fury,
259
00:13:32,791 --> 00:13:36,375
5.1 down next.
260
00:13:36,416 --> 00:13:37,208
There we go.
261
00:13:37,208 --> 00:13:40,500
And so now I have both of those down mixes
and notice that it automatically changed
262
00:13:40,500 --> 00:13:43,500
the name as well
right here in the timeline.
263
00:13:43,625 --> 00:13:44,875
So I can take that down mix.
264
00:13:44,875 --> 00:13:46,750
I'm actually going to drag it down
to a lower track.
265
00:13:46,750 --> 00:13:50,375
And so I have not only the original Dolby
Atmos master file right here
266
00:13:50,375 --> 00:13:54,583
in the timeline, but I also have now
a stereo and a 5.1 down mix.
267
00:13:54,583 --> 00:13:56,541
And I didn't have to do any extra work
for that.
268
00:13:56,541 --> 00:13:57,625
I could even name these here
269
00:13:57,625 --> 00:14:01,958
if I wanted to in the tracks
or by naming the clip names.
270
00:14:02,000 --> 00:14:04,416
You know,
I know exactly what I was working with.
271
00:14:04,416 --> 00:14:06,166
Now, let's say we wanted to export these
272
00:14:06,166 --> 00:14:09,958
or bounce these out for someone else
to work with outside of the system.
273
00:14:10,083 --> 00:14:11,333
I can do that as well.
274
00:14:11,333 --> 00:14:14,333
I can just right click
on, let's say my stereo down mix
275
00:14:14,458 --> 00:14:19,000
and right click and choose bounce clip
276
00:14:19,041 --> 00:14:20,250
two files.
277
00:14:20,250 --> 00:14:24,291
And what that will do is that will
allow me to bounce that out as a file.
278
00:14:24,291 --> 00:14:25,833
I can put it anywhere. I need to.
279
00:14:25,833 --> 00:14:30,166
I'll put this in a new folder
on my desktop
280
00:14:30,250 --> 00:14:33,250
down mixes
281
00:14:33,291 --> 00:14:35,125
it, go
282
00:14:35,125 --> 00:14:37,833
and it will just use the clip name
283
00:14:37,833 --> 00:14:41,833
and it will output it as either
mono files or multichannel files.
284
00:14:41,833 --> 00:14:46,625
I'll go ahead and output it
as multichannel files and bounce and done.
285
00:14:46,708 --> 00:14:53,208
That one's already sitting there
and before I export or bounce my 5.1,
286
00:14:53,208 --> 00:14:56,208
I'd like to check the loudness on that,
make sure that the levels are good.
287
00:14:56,458 --> 00:14:59,333
So let's go ahead and condense
all of these tracks.
288
00:14:59,333 --> 00:15:02,333
I'm just going to stretch this one out
a little bit more so I can see it better.
289
00:15:02,541 --> 00:15:06,083
Again, this is a down mix that I made
from a Dolby Atmos master file,
290
00:15:06,083 --> 00:15:11,166
and I'm just going to right click on this
and choose analyze audio levels.
291
00:15:11,250 --> 00:15:14,541
And if you look, analyze
audio levels is an offline analysis.
292
00:15:14,541 --> 00:15:16,791
So I will go and click on that.
293
00:15:16,791 --> 00:15:19,791
I'm back out and I can choose what
294
00:15:19,875 --> 00:15:21,083
loudness standard I want to use.
295
00:15:21,083 --> 00:15:24,541
And like I said, I think I'll try Netflix
for this one just as an example.
296
00:15:24,625 --> 00:15:28,041
So I'll set it to Netflix,
which also includes dialog intelligence.
297
00:15:28,250 --> 00:15:33,000
It will see how much dialogue's in there
and if there is over 20%,
298
00:15:33,125 --> 00:15:36,833
then it's going to wait for dialog.
299
00:15:36,833 --> 00:15:39,625
So go ahead and click analysis.
300
00:15:39,625 --> 00:15:42,250
It's just going to run that
through real quick and we'll see if it's
301
00:15:42,250 --> 00:15:45,208
within the target levels
or if it needs to be adjusted.
302
00:15:45,208 --> 00:15:47,541
And as you can see,
303
00:15:47,541 --> 00:15:48,958
it needs a little bit of adjustments.
304
00:15:48,958 --> 00:15:51,375
There's 21% dialog.
305
00:15:51,375 --> 00:15:56,458
The true peak is higher than that
minus two DB full scale.
306
00:15:56,666 --> 00:15:59,625
And also we have
our loudness is a little too hot as well.
307
00:15:59,625 --> 00:16:01,250
No problem at all.
308
00:16:01,250 --> 00:16:03,666
What we're going to do
is we're going to do the next step,
309
00:16:03,666 --> 00:16:06,625
as I mentioned before, is I'll just right
click on this,
310
00:16:06,625 --> 00:16:09,875
come up to normalize audio levels.
311
00:16:09,958 --> 00:16:13,250
So with normalized audio levels,
I can actually set which loudness
312
00:16:13,250 --> 00:16:16,500
standard or which peak targets
that I want to work with.
313
00:16:16,500 --> 00:16:19,291
So I'm going to go ahead and click
normalize audio levels.
314
00:16:19,291 --> 00:16:24,208
And as you can see, I'll choose Netflix
from the bottom of that list and we go.
315
00:16:24,208 --> 00:16:27,125
And so now it's going to be doing
the Netflix loudness,
316
00:16:27,125 --> 00:16:31,166
which will be the target levels
minus two decibels, true peak.
317
00:16:31,166 --> 00:16:35,291
And we also have target loudness of -27.
318
00:16:35,375 --> 00:16:38,458
It has to meet both of those targets.
319
00:16:38,541 --> 00:16:41,000
So I'll click normalize,
320
00:16:41,000 --> 00:16:43,541
do that work for me.
321
00:16:43,541 --> 00:16:46,375
And once that's finished
322
00:16:46,375 --> 00:16:50,166
now, it should have made the adjustments
needed for this particular clip.
323
00:16:50,250 --> 00:16:52,791
I'm going to go back in and do my analysis
324
00:16:52,791 --> 00:16:57,125
one more time for Netflix.
325
00:16:57,208 --> 00:17:00,041
It's running the analysis right now,
326
00:17:00,041 --> 00:17:02,041
and when I'm finished, it should show me.
327
00:17:02,041 --> 00:17:05,041
And there it is
that the dialog hasn't changed, obviously,
328
00:17:05,125 --> 00:17:08,708
but the true peak is
within the target level.
329
00:17:08,708 --> 00:17:11,250
If it's blue,
that means it's within the target level.
330
00:17:11,250 --> 00:17:14,375
If it's yellow, that means you're
right there within tolerance
331
00:17:14,375 --> 00:17:18,000
and it's -27.1 is within tolerance.
332
00:17:18,000 --> 00:17:19,541
So this is good to go.
333
00:17:19,541 --> 00:17:22,541
And I now can export this out knowing that
334
00:17:22,708 --> 00:17:26,375
the levels are sound
and ready to share with somebody else.
335
00:17:26,375 --> 00:17:29,500
I'm going to just right
click on this bounce clip to file.
336
00:17:29,666 --> 00:17:32,916
We'll use the clip
name and bounce and it's done.
337
00:17:33,000 --> 00:17:34,041
So I just sent that out.
338
00:17:34,041 --> 00:17:36,333
Not only did
I generate that from a master file,
339
00:17:36,333 --> 00:17:38,333
but I also set it to the loudness
standard.
340
00:17:38,333 --> 00:17:43,291
I needed to verified it and now I've just
been set out to my desktop.
341
00:17:43,375 --> 00:17:47,250
So that is just working
with one master file.
342
00:17:47,500 --> 00:17:50,458
Now a few other things that we can do,
343
00:17:50,458 --> 00:17:53,416
let me go ahead and show
all these tracks again
344
00:17:53,416 --> 00:17:57,250
is let's say I've sent my clips,
I've been able to watch these.
345
00:17:57,250 --> 00:17:59,750
And by the way,
you can also do playback on the edit page.
346
00:17:59,750 --> 00:18:01,166
If you happen to be over here
347
00:18:01,166 --> 00:18:01,916
working on something,
348
00:18:01,916 --> 00:18:05,833
you can be playing back a Dolby Atmos
master file, and even sync it right here
349
00:18:06,000 --> 00:18:08,458
on the edit page as well,
or any of the other pages
350
00:18:08,458 --> 00:18:11,000
that you may be working on
within DaVinci Resolve.
351
00:18:11,000 --> 00:18:13,916
You can now playback your master files.
352
00:18:13,916 --> 00:18:15,083
But what about exporting?
353
00:18:15,083 --> 00:18:17,375
I'd like to actually export this file.
354
00:18:17,375 --> 00:18:17,958
Right.
355
00:18:17,958 --> 00:18:22,625
So one of the things we could do
is just go into the deliver page
356
00:18:22,708 --> 00:18:25,500
and if you go over to the deliver page,
you have two choices.
357
00:18:25,500 --> 00:18:30,125
When you export your master files,
you can export them as an audio only.
358
00:18:30,208 --> 00:18:35,083
Adam, which is a master file and that's
going to be broadcast wav format.
359
00:18:35,083 --> 00:18:39,125
Or you can also do it
as part of an IMF package,
360
00:18:39,333 --> 00:18:44,541
which would be as an IMF IAB file
and I'll just show you
361
00:18:44,541 --> 00:18:47,541
where those two options are right here
in the deliver page.
362
00:18:47,541 --> 00:18:48,666
If I scroll all the way down
363
00:18:48,666 --> 00:18:52,375
to our presets,
we'll start with the audio only option.
364
00:18:52,458 --> 00:18:56,166
And if I click where it says
audio only, you're going to notice that
365
00:18:56,250 --> 00:18:57,083
this is where I can
366
00:18:57,083 --> 00:19:00,791
have my different choices
of set setting this up.
367
00:19:00,875 --> 00:19:04,250
And what I'm going to do is come down here
and just show you right now
368
00:19:04,250 --> 00:19:05,333
it's a QuickTime format
369
00:19:05,333 --> 00:19:08,458
and I want to switch it to a wave format
and also the codec.
370
00:19:08,458 --> 00:19:12,833
What I'm looking for is an Adam Broadcast
wavefile and there it is.
371
00:19:12,916 --> 00:19:16,291
Once I choose that,
as long as I have a track that matches
372
00:19:16,291 --> 00:19:19,625
that, I'll be able to get a Dolby Atmos
master right out of there.
373
00:19:19,708 --> 00:19:23,916
Any of the tracks that might be set to
a standard channel format and not a Dolby
374
00:19:23,916 --> 00:19:29,875
Atmos format will just output
as a flattened channel based clip.
375
00:19:29,875 --> 00:19:31,375
And so that's your choices.
376
00:19:31,375 --> 00:19:34,750
So it all is dependent
on what your tracks are set up to.
377
00:19:34,833 --> 00:19:38,416
So if we look down here at the bottom,
I notice I do have several tracks, So
378
00:19:38,416 --> 00:19:42,625
if I'm looking at my different timeline
tracks, my first track was Stereo, right?
379
00:19:42,625 --> 00:19:43,583
What was my second track?
380
00:19:43,583 --> 00:19:47,250
My second track was a 5.1.
381
00:19:47,333 --> 00:19:48,791
Third track is stereo,
382
00:19:48,791 --> 00:19:52,541
and the fourth track is 5.1
because we had the different down mixes.
383
00:19:52,708 --> 00:19:57,208
So it's not actually seeing a Dolby Atmos
master format at this time,
384
00:19:57,416 --> 00:19:58,208
Dolby Atmos format.
385
00:19:58,208 --> 00:19:59,125
So that's one thing that I'm going
386
00:19:59,125 --> 00:20:03,333
to have to actually change
if I want to export it out in Dolby Atmos.
387
00:20:03,333 --> 00:20:05,416
So I'm going to go back to the Fairlight
page.
388
00:20:05,416 --> 00:20:08,291
I'll go back to the original Dolby
Atmos master, because that's
389
00:20:08,291 --> 00:20:11,291
the only master file here in my timeline.
390
00:20:11,333 --> 00:20:14,916
And I'm going to change the format
of the track
391
00:20:15,000 --> 00:20:17,750
back to a Dolby Atmos format.
392
00:20:17,750 --> 00:20:19,791
As you can see,
you have several to choose from.
393
00:20:19,791 --> 00:20:23,041
I'll go ahead and make it a714.
394
00:20:23,125 --> 00:20:27,833
So the track is 714, but the clip
isn't yet, so we need to do that as well.
395
00:20:27,916 --> 00:20:34,791
Go back to clip attributes and
I'll set this to a Dolby atmos 714 format.
396
00:20:34,875 --> 00:20:38,375
And as soon as I do that
397
00:20:38,458 --> 00:20:42,541
now, when I go back to the deliver page,
398
00:20:42,625 --> 00:20:45,291
if I look
now that if I go back to track two,
399
00:20:45,291 --> 00:20:49,875
you'll see now it's recognizing
my Dolby atmos file right there.
400
00:20:49,875 --> 00:20:53,041
And so that one,
I can actually export out as a master file
401
00:20:53,041 --> 00:20:56,125
so I can choose an individual track
and export that out.
402
00:20:56,125 --> 00:20:56,833
Right now
403
00:20:56,833 --> 00:21:01,958
I can add that to the render cue
and I will export it to wherever I choose.
404
00:21:02,000 --> 00:21:05,833
So that's one way
of exporting a master file.
405
00:21:05,916 --> 00:21:10,333
And then the other option we have is,
as I mentioned, if we come over here,
406
00:21:10,416 --> 00:21:13,750
I am f packaging right here
inside your AMF packaging.
407
00:21:13,750 --> 00:21:17,250
We even have a couple of presets
for Disney and Netflix.
408
00:21:17,333 --> 00:21:21,500
Again, since I started with the Netflix
example, let's say we chose Netflix preset
409
00:21:21,708 --> 00:21:25,041
that would already have the video presets
set up.
410
00:21:25,041 --> 00:21:28,708
And here's your audio presets
and a couple of different options
411
00:21:28,708 --> 00:21:33,833
that you have here when you're exporting
as an IMF AI Abby and that is
412
00:21:34,083 --> 00:21:38,375
you can export what we're doing right now,
which is that file, the master file.
413
00:21:38,458 --> 00:21:41,125
And keep in mind,
whenever you bring in a master file
414
00:21:41,125 --> 00:21:43,583
into DaVinci Resolve,
we're not actually changing it.
415
00:21:43,583 --> 00:21:45,083
We're not going through there
and editing it.
416
00:21:45,083 --> 00:21:48,083
We're not making any difference,
as you may be able to trim the ends,
417
00:21:48,208 --> 00:21:50,833
you can sync it,
you can move its position,
418
00:21:50,833 --> 00:21:52,583
but you're not doing anything else
to that file.
419
00:21:52,583 --> 00:21:55,500
You're maintaining the integrity
all the way through.
420
00:21:55,500 --> 00:21:59,541
And so if you come down here
and if you take a look, you'll see that
421
00:21:59,625 --> 00:22:01,166
track two has the master file.
422
00:22:01,166 --> 00:22:03,000
As you can see, if I switch to a different
423
00:22:03,000 --> 00:22:06,000
track, it's not going to see that
or give me that option.
424
00:22:06,083 --> 00:22:08,791
Now, if you look at this output track
425
00:22:08,791 --> 00:22:11,458
pop up menu here,
you'll see that says timeline track.
426
00:22:11,458 --> 00:22:17,791
But I can also choose to go down there
and choose the IAB track file instead.
427
00:22:17,875 --> 00:22:21,375
So DaVinci Resolve is certified, Dolby
428
00:22:21,375 --> 00:22:25,791
Certified for Home Theater, Dolby Atmos
work.
429
00:22:25,791 --> 00:22:28,791
Obviously, So you can make a master's
for home theater.
430
00:22:28,958 --> 00:22:32,000
But let's say you're working with a cinema
master that's been certified
431
00:22:32,000 --> 00:22:35,500
as a cinema master, and you're running it
through DaVinci Resolve.
432
00:22:35,541 --> 00:22:37,791
It's not going to make any changes
to that file.
433
00:22:37,791 --> 00:22:39,916
It will maintain its integrity
all the way through.
434
00:22:39,916 --> 00:22:45,458
However, one of the things you can do is
you can choose IAB track file instead,
435
00:22:45,458 --> 00:22:49,333
and if you do that, it's basically
just doing a direct copy from that file
436
00:22:49,500 --> 00:22:52,500
into the IMF package.
437
00:22:52,583 --> 00:22:55,125
So those are a couple of different options
you have.
438
00:22:55,125 --> 00:22:56,416
And there you go.
439
00:22:56,416 --> 00:22:58,750
So that is ways that you can export it.
440
00:22:58,750 --> 00:23:03,416
Again as an Adam file
audio only or in an IMF package.
441
00:23:03,500 --> 00:23:05,875
Now let's go back to the Fairlight page.
442
00:23:05,875 --> 00:23:08,875
So that is just working with a file
that was already created.
443
00:23:09,083 --> 00:23:13,083
But there's something else that we can do
is you can even import a master file
444
00:23:13,166 --> 00:23:16,708
and when you imported, it's
going to expand and show you
445
00:23:16,708 --> 00:23:18,125
all of the different tracks.
446
00:23:18,125 --> 00:23:22,958
You'll see all of the objects there
panning metadata that stays with those
447
00:23:22,958 --> 00:23:26,875
as well as you'll see
your bed, your bed passing and so on.
448
00:23:26,875 --> 00:23:28,500
So let me just show you the entire thing.
449
00:23:28,500 --> 00:23:30,958
Let's unpack this exact same master.
450
00:23:30,958 --> 00:23:31,791
So we're going to come over here.
451
00:23:31,791 --> 00:23:33,416
I'm going to make a new Ben for it
452
00:23:33,416 --> 00:23:36,375
because it's going to populate it
with a lot of information.
453
00:23:36,375 --> 00:23:40,125
So I'll just put
454
00:23:40,208 --> 00:23:43,083
imported file
just so we can see what we're looking at.
455
00:23:43,083 --> 00:23:45,166
And I'm also going to change this
icon view
456
00:23:45,166 --> 00:23:48,291
because it's a little more interesting
to look at if I want to import it
457
00:23:48,291 --> 00:23:51,541
rather than importing right here
from the media pool, which is what we did
458
00:23:51,541 --> 00:23:54,791
before, we're going to import
through the Fairlight menus.
459
00:23:54,791 --> 00:23:56,750
Let's go back to the Fairlight menu.
460
00:23:56,750 --> 00:24:00,208
In the Fairlight menu,
we have an entire immersive audio
461
00:24:00,208 --> 00:24:04,250
tool set, and what we're going to
choose is import master file.
462
00:24:04,333 --> 00:24:09,000
If you import the master file using this
method, you actually get the entire thing
463
00:24:09,000 --> 00:24:12,000
all the content, the objects,
the metadata, everything.
464
00:24:12,000 --> 00:24:13,833
So here we go, importing it.
465
00:24:13,833 --> 00:24:16,166
It's on my desktop in this folder.
466
00:24:16,166 --> 00:24:16,916
There it is.
467
00:24:16,916 --> 00:24:20,833
It's just that broadcast way file the Adam
468
00:24:20,916 --> 00:24:23,750
in a click open and give it a second.
469
00:24:23,750 --> 00:24:26,583
And what you'll see is it's created
a brand new timeline.
470
00:24:26,583 --> 00:24:28,375
It's got a single bed mix.
471
00:24:28,375 --> 00:24:30,250
Whatever the naming convention was on
472
00:24:30,250 --> 00:24:32,541
all of the tracks
when the master file was created.
473
00:24:32,541 --> 00:24:35,500
I will have all of that. Here
474
00:24:35,583 --> 00:24:36,291
am. Any
475
00:24:36,291 --> 00:24:39,291
groups that were made will become
VCA groups.
476
00:24:39,500 --> 00:24:40,250
And there it is.
477
00:24:40,250 --> 00:24:43,000
Here is my master file ready to go?
478
00:24:43,000 --> 00:24:45,791
And as you can see,
there's all of those different tracks.
479
00:24:45,791 --> 00:24:46,166
I'll do that.
480
00:24:46,166 --> 00:24:50,666
And I because this is a demo project,
it's actually utilizing
481
00:24:50,750 --> 00:24:53,750
all of the available tracks
that you can use
482
00:24:53,750 --> 00:24:57,750
when you're working with a Dolby Atmos
Master or Dolby Atmos Project.
483
00:24:57,833 --> 00:25:00,833
You can have up to 128 channels,
484
00:25:01,041 --> 00:25:05,000
118 of those can be flying
objects or different objects,
485
00:25:05,166 --> 00:25:08,666
and the first ten are reserved
for using on your beds.
486
00:25:08,750 --> 00:25:11,541
And the beds is going to be more
of your standard channels, your flat
487
00:25:11,541 --> 00:25:14,625
and channels
that would be going to the fixed speakers.
488
00:25:14,791 --> 00:25:18,375
And then all of those other object
channels are what are assigned
489
00:25:18,375 --> 00:25:21,458
to the overhead speakers,
whether you have two or four.
490
00:25:21,708 --> 00:25:23,125
And those are what's going to give you
491
00:25:23,125 --> 00:25:27,416
the illusion of the sound
moving through space in all directions.
492
00:25:27,416 --> 00:25:30,291
And so that's the difference.
493
00:25:30,291 --> 00:25:32,916
If you look, let's
go ahead and up here at the top
494
00:25:32,916 --> 00:25:36,000
you notice
here's my in my monitoring panel.
495
00:25:36,000 --> 00:25:38,458
You'll see there's all of those different
tracks up there.
496
00:25:38,458 --> 00:25:42,125
If I double click on this metering area,
you'll see that it'll now
497
00:25:42,125 --> 00:25:46,625
show me more channels at once,
which is great when I'm watching this.
498
00:25:46,708 --> 00:25:50,125
Also,
I no longer need to look at my media pool,
499
00:25:50,125 --> 00:25:53,541
but you can see they're showing me
all of the different clips
500
00:25:53,541 --> 00:25:56,541
that it generated
just from that master file.
501
00:25:56,666 --> 00:25:58,541
And I'll go ahead and hide
this for a minute
502
00:25:58,541 --> 00:26:02,125
and we can play a little bit of it back.
503
00:26:02,208 --> 00:26:02,750
Now, one of the
504
00:26:02,750 --> 00:26:05,958
things you'll notice,
endpoint accuracy here, it is.
505
00:26:05,958 --> 00:26:08,375
If I play back,
I don't have any video to go with this,
506
00:26:08,375 --> 00:26:10,791
which is a shame
because the video is pretty cool, right?
507
00:26:10,791 --> 00:26:12,208
So how do I go get the video?
508
00:26:12,208 --> 00:26:13,750
I'm going to go back to the media pool.
509
00:26:13,750 --> 00:26:16,416
I have to actually go back to Master.
There it is.
510
00:26:16,416 --> 00:26:17,333
Here's the video clip.
511
00:26:17,333 --> 00:26:20,375
But the thing is,
the video has stereo audio in it.
512
00:26:20,375 --> 00:26:23,458
So if I go to drag this in,
the audio is going to come with it
513
00:26:23,458 --> 00:26:26,125
and cover up my first two channels,
which I don't want to do.
514
00:26:26,125 --> 00:26:29,375
So I'm actually going
to go to the edit page for this maneuver,
515
00:26:29,458 --> 00:26:33,750
go to the edit page,
make sure that I can see all of my tracks.
516
00:26:33,750 --> 00:26:34,750
There they are.
517
00:26:34,750 --> 00:26:38,083
And I'm going to come up to this video
clip and just open it in the edit page.
518
00:26:38,083 --> 00:26:42,625
And when I do that over here on the source
side, any time you put a video clip
519
00:26:42,750 --> 00:26:46,916
with both video and audio
into your source viewer, you will see that
520
00:26:46,916 --> 00:26:51,250
you'll get these two overlays,
one of them just one more.
521
00:26:51,250 --> 00:26:54,041
So you can see that
this overlay is for video only editing.
522
00:26:54,041 --> 00:26:55,708
This will be for audio only.
523
00:26:55,708 --> 00:26:58,958
And if I grab from anywhere else,
I'm going to get both at the same time.
524
00:26:59,041 --> 00:27:01,916
And so what we'll do is
I will just grab the video
525
00:27:01,916 --> 00:27:05,458
only from that clip
and drop it right onto the timeline.
526
00:27:05,458 --> 00:27:06,750
There it is.
527
00:27:06,750 --> 00:27:08,333
And while I'm there,
I'm going to look at the end
528
00:27:08,333 --> 00:27:12,416
and make sure that I snap
that into position so it's in sync.
529
00:27:12,500 --> 00:27:15,041
And I can go back to the Fairlight page
just like that.
530
00:27:15,041 --> 00:27:25,083
And so now I will have
video to go with the sound.
531
00:27:25,166 --> 00:27:27,375
This is Dolby Atmos.
532
00:27:27,375 --> 00:27:29,000
So the.
533
00:27:29,000 --> 00:27:29,625
Okay.
534
00:27:29,625 --> 00:27:31,666
And there we go. Now, a couple of things.
535
00:27:31,666 --> 00:27:36,083
Whenever you import a master file, you'll
notice that automation is turned on.
536
00:27:36,166 --> 00:27:40,333
And if I were to expand my mixture,
you'll notice that the mics are
537
00:27:40,333 --> 00:27:41,958
all of those faders are green.
538
00:27:41,958 --> 00:27:42,791
That means they're
539
00:27:42,791 --> 00:27:46,500
they all have automation applied to them
and the automation is locked.
540
00:27:46,500 --> 00:27:48,708
Again, we're not going in there
making any changes.
541
00:27:48,708 --> 00:27:51,916
We can create our own original content,
but at this moment what we're doing
542
00:27:51,916 --> 00:27:54,541
is we're working with the master file,
so I'm not changing it.
543
00:27:54,541 --> 00:27:57,500
If I needed to adjust the volume level
for any reason,
544
00:27:57,500 --> 00:28:01,583
if I needed to lower something and
in this case, all of the different object
545
00:28:01,583 --> 00:28:06,375
files are broken up into three parts,
just like your three stems.
546
00:28:06,375 --> 00:28:08,458
We have dialog objects.
547
00:28:08,458 --> 00:28:09,000
You can see.
548
00:28:09,000 --> 00:28:11,083
I'll just zoom in on that show you.
549
00:28:11,083 --> 00:28:15,875
We have our dialog objects
which you can see those are named as such,
550
00:28:15,958 --> 00:28:20,708
and then we have music objects and then
further down we have our effects objects.
551
00:28:20,708 --> 00:28:22,375
And so each one of those
552
00:28:22,375 --> 00:28:26,125
and they were named before the Dolby Atmos
master was created.
553
00:28:26,208 --> 00:28:28,875
And as you can see,
that's also in my track name.
554
00:28:28,875 --> 00:28:31,250
And we have groups for those.
555
00:28:31,250 --> 00:28:34,583
I'm going to go and peel open my mixer
and just show you what we have
556
00:28:34,666 --> 00:28:36,750
when we're looking in the mixer
at our busing.
557
00:28:36,750 --> 00:28:40,000
Once we brought this in, you see one bus
and this is the
558
00:28:40,083 --> 00:28:43,458
this is my composite bus,
which is basically our bed.
559
00:28:43,708 --> 00:28:46,708
Okay, That's showing you
your flattened bed right here.
560
00:28:46,708 --> 00:28:52,083
If I pull this open a little bit more,
you'll see it's a712 format.
561
00:28:52,166 --> 00:28:52,625
So what that
562
00:28:52,625 --> 00:28:56,291
one happens to be, it's
whenever it was, when it was created.
563
00:28:56,375 --> 00:28:59,750
And then if I look over here,
I will see VK groups.
564
00:28:59,833 --> 00:29:01,375
Okay, so these are VCA groups
565
00:29:01,375 --> 00:29:05,458
which were created ahead of time
before the master file is created.
566
00:29:05,541 --> 00:29:09,625
And those VCA groups can be used
to group together the different faders.
567
00:29:09,833 --> 00:29:13,375
In this case, we have a dialog group,
we have here's our music
568
00:29:13,375 --> 00:29:14,541
group and effects.
569
00:29:14,541 --> 00:29:18,041
If I want to grab these music faders,
notice I can't lower these down
570
00:29:18,125 --> 00:29:19,291
one at a time.
571
00:29:19,291 --> 00:29:22,083
However I can grab that VCA
if I needed to.
572
00:29:22,083 --> 00:29:24,041
And so I just need to lower the music
a bit.
573
00:29:24,041 --> 00:29:27,541
I can do that for all of those at once
574
00:29:27,625 --> 00:29:29,625
if needed
575
00:29:29,625 --> 00:29:31,875
because the standards might have changed.
576
00:29:31,875 --> 00:29:36,000
Wherever I happen to be outputting this,
I could actually adjust those together
577
00:29:36,208 --> 00:29:36,958
as a group.
578
00:29:36,958 --> 00:29:41,708
And so that's what those videos are useful
for, as you can see.
579
00:29:41,750 --> 00:29:42,333
And they are.
580
00:29:42,333 --> 00:29:44,708
And all of this was done ahead of time
581
00:29:44,708 --> 00:29:47,916
and all of this just translated
when I imported the master file.
582
00:29:48,000 --> 00:29:48,958
Now a couple of things.
583
00:29:48,958 --> 00:29:51,208
Let's look at our timeline again.
584
00:29:51,208 --> 00:29:53,750
I'm going to go ahead and hide
the media pull. Don't need to see that.
585
00:29:53,750 --> 00:29:56,000
And if I'm looking at this,
I had mentioned a couple of times
586
00:29:56,000 --> 00:29:59,083
that all of the metadata
for panning is also built in.
587
00:29:59,291 --> 00:30:04,041
And you can see that very,
very clearly in the panel.
588
00:30:04,041 --> 00:30:07,625
So I'm going to just scroll down here
to where the effects
589
00:30:07,708 --> 00:30:10,333
where we start
getting into the effects objects.
590
00:30:10,333 --> 00:30:13,333
If you look right across these panels,
591
00:30:13,375 --> 00:30:15,750
zoom in a little bit while I play back.
592
00:30:15,750 --> 00:30:18,666
You'll see these moving around
because that's where
593
00:30:18,666 --> 00:30:20,333
the automation has been applied.
594
00:30:20,333 --> 00:30:25,125
I can even open up these pane window
right here for individual tracks.
595
00:30:25,125 --> 00:30:29,041
And so then I'd be able to see
the automation for that specific track.
596
00:30:29,125 --> 00:30:30,958
And if you were generating
your own content,
597
00:30:30,958 --> 00:30:32,541
this is where you can record
598
00:30:32,541 --> 00:30:34,791
the automation
for those all of the different movements.
599
00:30:34,791 --> 00:30:38,250
You can do it by mousing these,
or if you're using a console
600
00:30:38,250 --> 00:30:41,625
and you can be dialing them in
and recording that information.
601
00:30:41,708 --> 00:30:44,666
I'll close this up for a second
and let's look and see if we can see
602
00:30:44,666 --> 00:30:46,791
some of that movement.
I was just talking about.
603
00:30:46,791 --> 00:30:50,291
I'm just going to play this
for a second. Cinematic audio.
604
00:30:50,375 --> 00:30:51,458
You see how the painters are.
605
00:30:51,458 --> 00:30:55,416
Moving audio
that transcends from channels.
606
00:30:55,500 --> 00:30:58,375
You know, Oh,
that's moving around around you.
607
00:30:58,375 --> 00:31:01,375
So you can see that on that data
right there.
608
00:31:01,375 --> 00:31:05,166
This is on effects object
to let me go to that
609
00:31:05,250 --> 00:31:08,916
go down to that
track and select that track.
610
00:31:08,916 --> 00:31:10,708
So there it is. Effects object too.
But watch.
611
00:31:10,708 --> 00:31:14,041
I can also change by just holding option
command and down arrow.
612
00:31:14,041 --> 00:31:17,291
I can move to the next track and I can
switch between these different tracks
613
00:31:17,375 --> 00:31:21,291
and see them just load a different track
at a time during playback.
614
00:31:21,291 --> 00:31:24,875
Ten point accuracy.
615
00:31:24,958 --> 00:31:27,958
And then the other thing I can do,
let me pause that I'm going to go
616
00:31:27,958 --> 00:31:29,458
and close this window for a minute, is
617
00:31:29,458 --> 00:31:32,541
we can actually see the curve as well,
if that's what I want to see.
618
00:31:32,541 --> 00:31:35,458
So I'm going to go and select
some of these tracks.
619
00:31:35,458 --> 00:31:36,958
Let's go to these effects objects.
620
00:31:36,958 --> 00:31:38,166
I'm going to select
621
00:31:38,166 --> 00:31:40,458
a handful of these tracks
and let's say I want to expand
622
00:31:40,458 --> 00:31:43,083
that just a little bit more
so I can really see it.
623
00:31:43,083 --> 00:31:45,208
What I want to see is those curves.
624
00:31:45,208 --> 00:31:48,833
And so if you look right here on the left
hand side of any track,
625
00:31:48,833 --> 00:31:50,541
you'll see when automation is turned
626
00:31:50,541 --> 00:31:52,708
on, you can choose
which curve you want to look at.
627
00:31:52,708 --> 00:31:55,875
If you're on one of our consoles, you can
actually select all your tracks at once.
628
00:31:56,083 --> 00:31:56,958
You can hold down the curve
629
00:31:56,958 --> 00:31:59,958
button, touch any parameter,
and it'll automatically show that curve.
630
00:32:00,083 --> 00:32:03,791
In this case, I'm just using mouse
and keyboard so I can manually set it.
631
00:32:03,875 --> 00:32:06,291
So I'd like to see the pan curve,
the left and right curve.
632
00:32:06,291 --> 00:32:07,250
There it is.
633
00:32:07,250 --> 00:32:10,250
I can also go to Pan.
There's my front back
634
00:32:10,333 --> 00:32:14,416
and here is my up down
so I can look at any of those curves.
635
00:32:14,416 --> 00:32:17,375
I think I'll just show the left
right on this particular one.
636
00:32:17,375 --> 00:32:17,916
There it is.
637
00:32:17,916 --> 00:32:20,916
And let's show left
and right on this one as well.
638
00:32:20,958 --> 00:32:24,708
I'll go down to this one
and let's do the front back.
639
00:32:24,916 --> 00:32:26,250
As you can see, any of those curves,
640
00:32:26,250 --> 00:32:28,791
it just depends on
how the automation was created.
641
00:32:28,791 --> 00:32:34,916
But there are four tracks
with some nice active automation applied.
642
00:32:35,000 --> 00:32:35,541
There we go.
643
00:32:35,541 --> 00:32:39,458
And something else I want to do
is let's focus on those tracks.
644
00:32:39,541 --> 00:32:42,541
And as I play this back, I'll select one
645
00:32:42,625 --> 00:32:45,583
by selecting a track,
I can automatically see which track it is,
646
00:32:45,583 --> 00:32:50,375
which makes it easier for me to open
this up and watch it during playback.
647
00:32:50,458 --> 00:32:52,791
You know, if there's anything happening
648
00:32:52,791 --> 00:32:56,000
at that time on that particular track,
I can see it.
649
00:32:56,083 --> 00:32:57,250
With Powerful moving.
650
00:32:57,250 --> 00:32:59,750
In the automation. Video
that transcends. Every go.
651
00:32:59,750 --> 00:33:04,125
You can see it moving right there
and that's individual tracks.
652
00:33:04,208 --> 00:33:07,500
But another thing that we can do
instead of the individual tracks is
653
00:33:07,500 --> 00:33:10,250
we can see them all at once
using our space view scope.
654
00:33:10,250 --> 00:33:13,000
So let's go up to the Fairlight menu,
655
00:33:13,000 --> 00:33:16,791
down to our immersive
audio tools and choose a space view scope.
656
00:33:16,791 --> 00:33:21,416
And when you open up the space view scope,
that's going to allow you to see all 118
657
00:33:21,416 --> 00:33:22,250
flying objects.
658
00:33:22,250 --> 00:33:24,916
If you have that many, it's rare
for people to use that many.
659
00:33:24,916 --> 00:33:28,291
But again, this is a demo project,
so of course we did, right?
660
00:33:28,375 --> 00:33:31,166
So there we go.
This is my space view scope.
661
00:33:31,166 --> 00:33:34,166
And if you look,
you'll see the purple icons.
662
00:33:34,166 --> 00:33:37,083
Those are going to be the channels,
Those are the fixed channels.
663
00:33:37,083 --> 00:33:38,583
That's from our bed.
664
00:33:38,583 --> 00:33:42,958
And then you'll also see all of these
different green elements are our objects.
665
00:33:42,958 --> 00:33:45,500
And so if I start playback. With ten point
and you'll.
666
00:33:45,500 --> 00:33:47,708
See there they are,
667
00:33:47,791 --> 00:33:49,208
I'm going to actually
668
00:33:49,208 --> 00:33:52,791
mute my playback for a minute and just so
you can see these objects flying around.
669
00:33:52,875 --> 00:33:56,583
And this really allows you,
whenever you're working with the space
670
00:33:56,583 --> 00:34:01,333
view scope, you can actually see
the relationship between the objects
671
00:34:01,333 --> 00:34:04,875
and the room as well as each other,
which is very helpful.
672
00:34:04,958 --> 00:34:07,541
I'm going to go back to those four
673
00:34:07,541 --> 00:34:08,666
tracks I was working with.
674
00:34:08,666 --> 00:34:10,500
I'm just going to go to all four of those
675
00:34:10,500 --> 00:34:13,583
and I'm going to solo them
by just swiping down on solo.
676
00:34:13,833 --> 00:34:18,583
And now I'll only see those clip,
those particular objects flying around
677
00:34:18,583 --> 00:34:21,583
so I can really watch
only their automation,
678
00:34:21,625 --> 00:34:25,250
as you can see, and I can even change
the color of those tracks.
679
00:34:25,500 --> 00:34:28,666
Right click and choose Change Track color.
680
00:34:28,666 --> 00:34:30,125
This time, I'll make it orange,
681
00:34:30,125 --> 00:34:33,958
and that way I can really track it,
see what happens to it as we go.
682
00:34:34,125 --> 00:34:36,250
Right now,
they all are acting as one object,
683
00:34:36,250 --> 00:34:39,708
but they're about to split up
into several different ones.
684
00:34:39,791 --> 00:34:42,375
And if I unsettle all this,
685
00:34:42,458 --> 00:34:43,250
all of a sudden we're going
686
00:34:43,250 --> 00:34:47,000
to see those orange objects
within the other objects as well.
687
00:34:47,000 --> 00:34:49,458
So it's just another way
of working with this.
688
00:34:49,458 --> 00:34:52,250
And one thing about the space view
scope is if you have a separate screen,
689
00:34:52,250 --> 00:34:53,875
you can move it over to the other screen.
690
00:34:53,875 --> 00:34:58,875
You can also resize it to better match
whatever room you're working in and go,
691
00:34:59,000 --> 00:35:02,000
but it always gives you
a really nice representation of what's
692
00:35:02,000 --> 00:35:06,041
actually happening
with those objects as you go.
693
00:35:06,125 --> 00:35:08,375
So that is our space view scope.
694
00:35:08,375 --> 00:35:11,083
This is just a way of, you know, kind of
monitoring things. You can also use.
695
00:35:11,083 --> 00:35:14,083
It's very handy if you're creating
your own content as well.
696
00:35:14,125 --> 00:35:17,291
So I'm going to go ahead
and close up my panning.
697
00:35:17,375 --> 00:35:19,500
I can deselect
those tracks, kind of bring this back.
698
00:35:19,500 --> 00:35:23,250
So that is just watching the metadata,
that is looking at the mixture.
699
00:35:23,458 --> 00:35:26,375
Let's go back to this composite bed.
700
00:35:26,375 --> 00:35:26,875
Okay.
701
00:35:26,875 --> 00:35:31,000
As you can see, there's my 712 bed,
which is
702
00:35:31,083 --> 00:35:32,208
right here at the beginning.
703
00:35:32,208 --> 00:35:32,666
There it is.
704
00:35:32,666 --> 00:35:38,041
If I open up the pan window for that,
you'll see that's what it looks like
705
00:35:38,125 --> 00:35:38,625
right there.
706
00:35:38,625 --> 00:35:40,708
And that is what
707
00:35:40,708 --> 00:35:45,500
all of the different channels are in
the exact position where they need to be.
708
00:35:45,500 --> 00:35:48,250
All of them are on their target.
This is 712.
709
00:35:48,250 --> 00:35:50,375
So you only have two overheads.
710
00:35:50,375 --> 00:35:52,916
If we had 714,
you would see four overheads
711
00:35:52,916 --> 00:35:55,541
and they would be on these targets
in front of me.
712
00:35:55,541 --> 00:35:57,500
Now that you've kind of seen this,
I'm going to show you
713
00:35:57,500 --> 00:36:00,625
how you can actually set up
and create your own content.
714
00:36:00,750 --> 00:36:05,833
But first I need to actually show you
how to export a right from the timeline.
715
00:36:05,833 --> 00:36:07,291
Your master file.
716
00:36:07,291 --> 00:36:10,083
So let's come up here to the top
into the very light menu.
717
00:36:10,083 --> 00:36:11,916
Again, go to immersive audio.
718
00:36:11,916 --> 00:36:14,125
Obviously, you know,
you can import your master file,
719
00:36:14,125 --> 00:36:17,541
but you can also export your master file
from right at this position.
720
00:36:17,625 --> 00:36:21,833
And if I do that, it will take
on the timeline name or a name plus a tag.
721
00:36:21,833 --> 00:36:24,333
So you would want to make sure
you had a good name for that one.
722
00:36:24,333 --> 00:36:27,041
And you can come over here
and choose the format.
723
00:36:27,041 --> 00:36:28,500
And as you can see, you can do either
724
00:36:28,500 --> 00:36:32,750
an Adam broadcast
wave file or an IMF IFB file.
725
00:36:32,750 --> 00:36:36,208
So either way,
you can actually take care of that right
726
00:36:36,208 --> 00:36:39,958
from within the Fairlight page
and never actually leave that.
727
00:36:40,041 --> 00:36:43,041
So one more time, if you needed to export,
you just go to the immersive
728
00:36:43,041 --> 00:36:46,875
audio export master file
and there are your choices.
729
00:36:46,958 --> 00:36:49,791
Adam Broadcast WAV and IMF.
730
00:36:49,791 --> 00:36:53,000
Abby I haven't changed the way
I'm monitoring this.
731
00:36:53,041 --> 00:36:57,625
As soon as I bring it in,
it's automatically said, I'm going to 714.
732
00:36:57,625 --> 00:37:01,625
As you can see, they make my viewer
a little bit bigger here
733
00:37:01,708 --> 00:37:03,041
as I can.
734
00:37:03,041 --> 00:37:07,083
And if you look
over here in the right corner underneath
735
00:37:07,166 --> 00:37:10,041
the viewer is
this is where you're going to see the
736
00:37:10,041 --> 00:37:13,458
where you can change your playback format
at any time.
737
00:37:13,541 --> 00:37:16,750
Earlier, when I just brought in a file
to the timeline, we had to
738
00:37:16,750 --> 00:37:19,750
right click and change the attributes
to change how it was playing back.
739
00:37:19,791 --> 00:37:22,875
Well, in this case,
we can change it live during playback
740
00:37:22,875 --> 00:37:26,333
just by switching the format
and we can do that right here.
741
00:37:26,541 --> 00:37:29,541
So these are all of the formats
that are from the Dolby Atmos renderer
742
00:37:29,541 --> 00:37:32,875
that we can switch to right away,
including our channel based formats.
743
00:37:33,125 --> 00:37:38,000
So I could start this playing back
when it did my playback so it's slower
744
00:37:38,083 --> 00:37:40,583
and I can start playback right now.
745
00:37:40,583 --> 00:37:42,291
So it's playing at 714.
746
00:37:42,291 --> 00:37:45,541
Clearly I don't have seven one floor
speakers set up here.
747
00:37:45,625 --> 00:37:48,375
I could switch instantly to stereo and now
748
00:37:48,375 --> 00:37:52,833
listen to it in stereo automatically. Or
749
00:37:52,916 --> 00:37:55,916
I one for Dolby Atmos
750
00:37:55,916 --> 00:37:58,250
seven one
So I could make any of those changes
751
00:37:58,250 --> 00:38:02,333
during playback by just changing
this particular menu to either
752
00:38:02,416 --> 00:38:07,833
standard channel based format
or to a Dolby Atmos format right here.
753
00:38:07,916 --> 00:38:10,791
If I'm using a nonstandard format,
I could go down
754
00:38:10,791 --> 00:38:13,791
to Native and work with that instead.
755
00:38:13,958 --> 00:38:16,958
And that's just a native
Dolby atmos passing
756
00:38:17,208 --> 00:38:20,000
within Fairlight.
757
00:38:20,000 --> 00:38:22,583
Now, a couple of other choices
that we have
758
00:38:22,583 --> 00:38:26,041
before I finish off this section is
I also want to show you where
759
00:38:26,041 --> 00:38:27,333
the render settings are
760
00:38:27,333 --> 00:38:30,541
in case you're doing down mixes
and you want to just adjust a little bit
761
00:38:30,541 --> 00:38:34,333
how those are working Back up
to the Fairlight menu, down
762
00:38:34,333 --> 00:38:37,375
to immersive tools and at the very bottom
of the immersive tools,
763
00:38:37,375 --> 00:38:40,375
you'll see the render settings
and those render settings.
764
00:38:40,375 --> 00:38:44,333
What those will do is this will bring up
the down mixing controls.
765
00:38:44,541 --> 00:38:48,666
And so if you happen to be down
mixing to, let's say, stereo
766
00:38:48,750 --> 00:38:52,250
and you want to make some adjustments
to that or 5.1,
767
00:38:52,250 --> 00:38:55,583
this will allow you to kind of trim
your surrounds and your height,
768
00:38:55,791 --> 00:39:01,500
because if this was a theatrical master
set up for a much wider speaker array
769
00:39:01,583 --> 00:39:04,750
and you may want to trim that back of it's
going to be playing in a living room.
770
00:39:04,750 --> 00:39:08,125
And so you might adjust
some of that right here if you need to,
771
00:39:08,291 --> 00:39:09,583
although recommendation,
772
00:39:09,583 --> 00:39:12,333
if you don't need to make any adjustments,
just go with automatic
773
00:39:12,333 --> 00:39:15,250
and then you'll be using
all of the same algorithms
774
00:39:15,250 --> 00:39:19,083
that are in the Dolby atmos
renderer for your down mixing.
775
00:39:19,166 --> 00:39:20,458
So those controls are right here.
776
00:39:20,458 --> 00:39:24,208
I'm going to go ahead and cancel
out of that and that is basically
777
00:39:24,208 --> 00:39:28,916
how you can work with these
and export them right from within.
778
00:39:29,000 --> 00:39:30,208
The DaVinci Result fairly.
779
00:39:30,208 --> 00:39:34,375
Page Now the last thing I want to show you
is just for up your own projects.
780
00:39:34,583 --> 00:39:37,041
So what we'll do is I'd like to come down
781
00:39:37,041 --> 00:39:39,958
and just going to open up
another project real quickly
782
00:39:40,041 --> 00:39:42,500
and there it is.
783
00:39:42,500 --> 00:39:42,875
Okay.
784
00:39:42,875 --> 00:39:45,875
So this particular project doesn't
look all that exciting.
785
00:39:46,000 --> 00:39:49,208
Not as exciting,
but all I have is just some tone
786
00:39:49,375 --> 00:39:52,000
that is in all of these different
channels.
787
00:39:52,000 --> 00:39:55,791
And basically
what I did is set this up as a71 for now.
788
00:39:55,791 --> 00:40:01,000
If you're wondering what is 7147
would be the standard surround channels.
789
00:40:01,000 --> 00:40:04,583
Obviously
the one is going to be for your subwoofer
790
00:40:04,666 --> 00:40:07,708
and your LFI
and then the four is how many overheads.
791
00:40:07,708 --> 00:40:10,625
So if it's two that would be two overhead
speakers.
792
00:40:10,625 --> 00:40:13,375
If it's four
it's going to be for overheads figures.
793
00:40:13,375 --> 00:40:16,958
So in this case
I'm going to go with the full 714.
794
00:40:17,041 --> 00:40:19,833
First thing I want to do is a reset
my UI layout.
795
00:40:19,833 --> 00:40:23,458
So I'm going to go down here to reset
layout in the workspace menu.
796
00:40:23,541 --> 00:40:25,250
Just kind of neat and things up.
797
00:40:25,250 --> 00:40:27,916
And here we just have tone
and it's in four, it's
798
00:40:27,916 --> 00:40:31,541
in all these different tracks
and I've named the tracks, whatever
799
00:40:31,541 --> 00:40:36,916
the channel configuration is for a714,
just you can see what those are.
800
00:40:37,000 --> 00:40:39,333
This would be standard
channel configurations.
801
00:40:39,333 --> 00:40:41,958
However, at the bottom you will see L.T.
802
00:40:41,958 --> 00:40:46,833
f for the left,
top front, right top front,
803
00:40:46,916 --> 00:40:49,500
left, top rear and right, top rear.
804
00:40:49,500 --> 00:40:51,708
And so those are the four overheads.
805
00:40:51,708 --> 00:40:55,916
Now if I want to patch these
so that I can actually set this up, create
806
00:40:55,916 --> 00:41:00,125
a master file or test this on my own
speaker system to make sure it is working.
807
00:41:00,208 --> 00:41:01,791
Everything is set up correctly.
808
00:41:01,791 --> 00:41:03,875
Then I need to understand how it works.
809
00:41:03,875 --> 00:41:06,333
A couple of things you need to know
when you're working within.
810
00:41:06,333 --> 00:41:11,333
These are rules for working with Dolby
Atmos is that if you have an LFI channel
811
00:41:11,333 --> 00:41:15,708
low frequency effects,
those need to go through your bed.
812
00:41:15,791 --> 00:41:18,500
K the bed mics,
that's your standard channel base.
813
00:41:18,500 --> 00:41:20,583
That is where you're going
to get those LFI effects.
814
00:41:20,583 --> 00:41:22,208
You won't get your LFI.
815
00:41:22,208 --> 00:41:23,333
None of those effects are going
816
00:41:23,333 --> 00:41:27,166
to be on your objects
and flying objects are for the overheads.
817
00:41:27,250 --> 00:41:32,041
And then the other thing is
that your tracks, your individual tracks
818
00:41:32,250 --> 00:41:35,791
are going to feed the overheads,
those are going to feed the overhead
819
00:41:35,875 --> 00:41:41,125
objects while busses, you need a bus
in order to feed a bed, track.
820
00:41:41,291 --> 00:41:44,500
So at this moment,
if you look at what I have
821
00:41:44,583 --> 00:41:46,791
for my blessing, I have those tracks.
822
00:41:46,791 --> 00:41:49,250
But if I look at my bussing,
I have two busses here.
823
00:41:49,250 --> 00:41:52,083
One is unassigned just it's called Master,
824
00:41:52,083 --> 00:41:55,083
and the second one is a71 bed.
825
00:41:55,166 --> 00:41:55,791
Okay.
826
00:41:55,791 --> 00:41:59,375
And so I need both of those
in order to make this work.
827
00:41:59,458 --> 00:42:02,375
And as I mentioned, what I'm going to do
is I'm going to assign
828
00:42:02,375 --> 00:42:05,791
the first eight channels
just as if this was a71 mix.
829
00:42:06,041 --> 00:42:11,416
I'm going to assign
those first eight channels to a bed,
830
00:42:11,500 --> 00:42:12,833
and that's this one right here.
831
00:42:12,833 --> 00:42:15,833
And then the bed I assigned to the master.
832
00:42:15,916 --> 00:42:18,916
And so let me just show you
how that works.
833
00:42:19,000 --> 00:42:23,041
Notice also that all the panning at this
moment is set to center.
834
00:42:23,250 --> 00:42:25,625
So if I were to play these
835
00:42:25,625 --> 00:42:28,708
and let me just mute that because
no one needs to hear all that beeping,
836
00:42:28,916 --> 00:42:30,708
if I play this,
you'll see that all of these
837
00:42:30,708 --> 00:42:34,791
are playing out of the exact same channel
and only that channel on my metering
838
00:42:34,791 --> 00:42:38,000
because all the panning is set to center.
839
00:42:38,208 --> 00:42:39,916
So we need to change that as well.
840
00:42:39,916 --> 00:42:42,000
Now one of the really cool tricks
that you can do
841
00:42:42,000 --> 00:42:45,416
in the Fairlight page is if you select,
you don't even have to select your tracks.
842
00:42:45,625 --> 00:42:49,041
I can select
however many I need to of mono tracks
843
00:42:49,041 --> 00:42:53,625
and I can link them together and it will
automatically pan them as that format.
844
00:42:53,666 --> 00:42:59,458
Let me just show you in the Fairlight
menu, go to link group
845
00:42:59,541 --> 00:43:00,500
and when you go to link group,
846
00:43:00,500 --> 00:43:04,791
it will show every mono channel or mono
track that you have in your project.
847
00:43:04,791 --> 00:43:07,250
And at this moment
I'd like to select them all.
848
00:43:07,250 --> 00:43:10,750
So I'm just going to select the first one
to the last one, and as soon as I do
849
00:43:10,750 --> 00:43:14,208
that notice, it automatically assumes
that this is a Dolby atmos.
850
00:43:14,208 --> 00:43:20,250
714 Let me deselect all these for a second
and only select the first two notice.
851
00:43:20,250 --> 00:43:23,208
Now, if I were to link that, it's
going to assume it's stereo.
852
00:43:23,208 --> 00:43:27,750
If I do six channels, it's
going to assume that it's a51 and so on.
853
00:43:27,750 --> 00:43:28,625
So it always looks
854
00:43:28,625 --> 00:43:31,625
at the number of channels and guesses
what it is you're asking for.
855
00:43:31,666 --> 00:43:34,041
In this case,
like I said, I'll do all of these
856
00:43:34,041 --> 00:43:37,916
and there's only one option for that
many channels and that will be my 714.
857
00:43:37,916 --> 00:43:40,333
So I will say link those together.
858
00:43:40,333 --> 00:43:43,750
When I do that,
you'll see a band on the left hand side
859
00:43:43,833 --> 00:43:45,583
which shows
that these are all linked together.
860
00:43:45,583 --> 00:43:49,708
You also see the same band
across the top of my monitoring panel
861
00:43:49,791 --> 00:43:53,333
and if you look at your mixer,
it's only giving me one track.
862
00:43:53,333 --> 00:43:58,416
All of those are being assigned
to a single track with a single fader.
863
00:43:58,500 --> 00:44:01,083
I can open this up
and you'll notice that it is dead on.
864
00:44:01,083 --> 00:44:03,625
Everything is panned
exactly to the targets,
865
00:44:03,625 --> 00:44:08,250
including the four overheads
for a714 output, which is awesome.
866
00:44:08,250 --> 00:44:09,958
That's exactly what I wanted.
867
00:44:09,958 --> 00:44:11,791
Problem is
I don't want them all in one track.
868
00:44:11,791 --> 00:44:15,416
I want to make sure
that they're spread out and so just go up
869
00:44:15,416 --> 00:44:16,666
and unlink them.
870
00:44:16,666 --> 00:44:20,791
So I'll go back to the link group,
select them again and unlink them.
871
00:44:20,875 --> 00:44:25,208
And one of the benefits is now
I got their back to single tracks.
872
00:44:25,208 --> 00:44:29,375
However,
every single one of them has now been
873
00:44:29,458 --> 00:44:30,041
panned
874
00:44:30,041 --> 00:44:33,416
exactly
where it needs to be for my output.
875
00:44:33,416 --> 00:44:37,291
And in fact, if I double click
this and open it up, you'll see,
876
00:44:37,375 --> 00:44:40,916
you'll see my tracks and it shows exactly
where they're pinned to.
877
00:44:41,000 --> 00:44:43,958
And if I select a track
and just move down through and you'll see
878
00:44:43,958 --> 00:44:48,250
the panning in each target
is exactly where it needs to be.
879
00:44:48,291 --> 00:44:51,208
And that's just showing you
the pan position for each of those tracks.
880
00:44:51,208 --> 00:44:54,875
So all of that was done very quickly.
881
00:44:54,958 --> 00:44:55,291
All right.
882
00:44:55,291 --> 00:44:59,875
So the last step is will go to bus design
and I unassigned all of those tracks,
883
00:44:59,875 --> 00:45:00,541
as you can see.
884
00:45:00,541 --> 00:45:05,000
And so now there's no sound going out
to either of our busses.
885
00:45:05,125 --> 00:45:08,875
And so the last thing we have to do
is just assign the first eight channels,
886
00:45:08,875 --> 00:45:12,916
have to go to my bed,
and then the bed will go to the master.
887
00:45:13,000 --> 00:45:15,416
And that way this will playback perfectly.
888
00:45:15,416 --> 00:45:16,708
So let's start up here.
889
00:45:16,708 --> 00:45:20,625
I'm going to choose the out for my bed
and I'm going to grab
890
00:45:20,625 --> 00:45:25,375
all eight of those first channels
and those are now going to bus
891
00:45:25,375 --> 00:45:29,166
to which is the bus to output,
which is the bed.
892
00:45:29,250 --> 00:45:32,500
Then I'm going to select the master out
and I'm going to set
893
00:45:32,500 --> 00:45:37,041
all four of my overhead
as to that master out.
894
00:45:37,041 --> 00:45:40,833
And I'm also sending the bed bus
to the master alt as well.
895
00:45:40,833 --> 00:45:42,083
So I like that.
896
00:45:42,083 --> 00:45:48,041
So everything else feeds the master
and by doing it that way,
897
00:45:48,125 --> 00:45:48,625
the channel
898
00:45:48,625 --> 00:45:51,750
should all feed perfectly
and let's just see how it works.
899
00:45:51,750 --> 00:45:53,708
I'm going to go ahead and go to the fare
Light menu.
900
00:45:53,708 --> 00:45:57,375
Immersive audio,
and I'm going to export this master file
901
00:45:57,458 --> 00:46:01,625
and we'll just make it an Adam broadcast
way file export.
902
00:46:01,708 --> 00:46:03,833
It will be called
903
00:46:03,833 --> 00:46:05,208
Let's give our timeline a name.
904
00:46:05,208 --> 00:46:10,208
So it's a little bit
better than timeline one.
905
00:46:10,291 --> 00:46:11,333
We'll call it Master
906
00:46:11,333 --> 00:46:15,250
Ident for identifying our tracks
907
00:46:15,333 --> 00:46:17,250
test. There we go.
908
00:46:17,250 --> 00:46:21,333
And so now that I've changed the name
I will go back up to the Fare light menu,
909
00:46:21,416 --> 00:46:27,458
immersive audio export master file
and we will export that
910
00:46:27,500 --> 00:46:30,291
right to
911
00:46:30,291 --> 00:46:32,833
the desktop and save.
912
00:46:32,833 --> 00:46:36,750
Oh, last thing good thing about
this is if you ever miss something,
913
00:46:36,750 --> 00:46:37,541
it's going to tell you.
914
00:46:37,541 --> 00:46:40,500
So in this case,
I need to set an endpoint and an out point
915
00:46:40,500 --> 00:46:43,958
and now I'll go in there and export
that master.
916
00:46:44,125 --> 00:46:47,041
Let's try this. Take two and go.
917
00:46:47,041 --> 00:46:51,833
It's going to export it
and save as soon as I'm finished
918
00:46:51,916 --> 00:46:54,416
and we go, I can bring that master file
919
00:46:54,416 --> 00:46:58,208
in our import media
920
00:46:58,291 --> 00:47:03,333
and if I import from the desktop,
here's the master file I just created.
921
00:47:03,416 --> 00:47:05,041
I've just brought it into the timeline.
922
00:47:05,041 --> 00:47:08,458
If you notice up here in my preview,
there are all the channels
923
00:47:08,458 --> 00:47:13,833
just as expected, and there are my four
overheads exactly as they should be.
924
00:47:13,833 --> 00:47:15,500
So all of that is a success.
925
00:47:15,500 --> 00:47:19,666
I can even go in here and import that file
926
00:47:19,750 --> 00:47:24,333
import master file, and let's see
if the results that way go to the desktop.
927
00:47:24,416 --> 00:47:30,000
Here's my file that I just created open
and it should create it.
928
00:47:30,000 --> 00:47:31,583
There it is.
929
00:47:31,583 --> 00:47:35,583
And as you can see, it's giving me a71.
930
00:47:35,666 --> 00:47:36,833
There's my seven one.
931
00:47:36,833 --> 00:47:37,916
As you can see, that's
932
00:47:37,916 --> 00:47:41,958
all of those bed tracks
and there are my different overheads.
933
00:47:42,083 --> 00:47:46,041
So in a nutshell,
this is how you can get through.
934
00:47:46,208 --> 00:47:51,041
I working with a Dolby Atmos
project right here in DaVinci Resolve.
935
00:47:51,041 --> 00:47:52,958
So whether you're just playing it back
936
00:47:52,958 --> 00:47:56,875
or you're creating original content,
you have all the tools you need right here
937
00:47:56,875 --> 00:48:01,166
on the flight page and Da Vinci Results
17 Da Vinci results Studio.
938
00:48:01,166 --> 00:48:02,250
So thank you for watching.
84666
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