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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:04,625 --> 00:00:05,875 Hi, I'm Mary, and I'm going 2 00:00:05,875 --> 00:00:09,833 to show you the Dolby Atmos integration in the Fairlight page of Da Vinci. 3 00:00:09,833 --> 00:00:13,250 Results 17. Let's get started right here. 4 00:00:13,250 --> 00:00:17,125 I have an empty project, and I'm going to go in and actually make 5 00:00:17,125 --> 00:00:21,791 a brand new project right here with nothing in it, not even a timeline. 6 00:00:21,791 --> 00:00:25,416 And I'm just going to call this 7 00:00:25,500 --> 00:00:26,875 Dolby Atmos just so 8 00:00:26,875 --> 00:00:30,583 we have a name for that project, and I'm going to hide 9 00:00:30,666 --> 00:00:33,958 the venture result for a moment and come up here to the actual media 10 00:00:33,958 --> 00:00:35,375 that we're going to be working with. 11 00:00:35,375 --> 00:00:38,166 We have a video clip 12 00:00:38,166 --> 00:00:42,833 with a stereo soundtrack, and then we also have a broadcast 13 00:00:42,833 --> 00:00:47,541 wave file, which happens to be an Adam file, a Dolby Atmos master file. 14 00:00:47,541 --> 00:00:50,791 We'll be working with both of those right now in the Fairlight page. 15 00:00:50,875 --> 00:00:54,541 So going to go back to Fairlight, and what I want to do is just import 16 00:00:54,541 --> 00:00:55,375 those two clip. 17 00:00:55,375 --> 00:00:59,666 So I'm going to right click Import Media. 18 00:00:59,750 --> 00:01:02,916 We'll go over to that order I was just on 19 00:01:03,000 --> 00:01:06,958 and we'll select both of those clips and 20 00:01:07,041 --> 00:01:08,750 bring those into my project. 21 00:01:08,750 --> 00:01:09,833 And here they are. 22 00:01:09,833 --> 00:01:13,583 Now, if I select the first clip, you'll notice that is the movie clip. 23 00:01:13,583 --> 00:01:16,583 And there is the stereo soundtrack as mentioned. 24 00:01:16,791 --> 00:01:21,250 And if I selected this file, you'll see that 25 00:01:21,333 --> 00:01:25,875 this is actually the broadcast wave file, which is also in Adam. 26 00:01:25,875 --> 00:01:28,875 And as you can see, that is a Dolby Atmos master file. 27 00:01:29,125 --> 00:01:31,083 It's a full master file right there. 28 00:01:31,083 --> 00:01:32,750 You can see it in the preview player. 29 00:01:32,750 --> 00:01:36,166 And you can also find out information about a clip over here 30 00:01:36,166 --> 00:01:38,000 in the metadata panel. 31 00:01:38,000 --> 00:01:41,000 So if I come over to the right and select metadata, 32 00:01:41,208 --> 00:01:44,458 you'll notice that it will show me the information about any selected clip. 33 00:01:44,458 --> 00:01:47,458 At this point, I can see this is a Dolby Atmos file. 34 00:01:47,708 --> 00:01:52,208 And if I select the original, you'll see that that is just an h264 35 00:01:52,291 --> 00:01:54,708 with a two channel stereo file. 36 00:01:54,708 --> 00:01:58,833 So those are the materials that we're working with for this. 37 00:01:58,833 --> 00:02:01,875 I said, I'm going to go ahead and hide that metadata now. 38 00:02:02,083 --> 00:02:05,250 And what I'd like to do first is just bring over the video clip. 39 00:02:05,250 --> 00:02:07,458 Now, I don't even have a timeline yet. 40 00:02:07,458 --> 00:02:09,833 And one of the things you can do in the Fairlight page is 41 00:02:09,833 --> 00:02:13,375 you can actually just drag and drop a clip right into that empty space 42 00:02:13,375 --> 00:02:14,791 where there would be a timeline 43 00:02:14,791 --> 00:02:18,458 and it will create it for you and match the media that you're bringing in. 44 00:02:18,500 --> 00:02:21,833 Now, I'd also like to make sure I'm showing my video track, so I'm going to 45 00:02:21,833 --> 00:02:25,125 come up here to my timeline view options 46 00:02:25,208 --> 00:02:27,958 and make sure the video track is showing. 47 00:02:27,958 --> 00:02:30,833 And that way by selecting that when I bring in the clip, 48 00:02:30,833 --> 00:02:33,291 I'll get both the video and audio at the same time. 49 00:02:33,291 --> 00:02:34,666 So I'm just going to take this. 50 00:02:34,666 --> 00:02:37,666 I also want to make sure my snapping is turned on 51 00:02:37,666 --> 00:02:41,291 and that way it will start right at the very beginning of the timeline. 52 00:02:41,375 --> 00:02:45,291 I'll grab that video clip and just drag it over and it will 53 00:02:45,291 --> 00:02:49,583 automatically create the timeline with both the video and audio tracks. 54 00:02:49,583 --> 00:02:53,250 As you can see, I'm going to hit Shift Z to fit it to the window. 55 00:02:53,458 --> 00:02:56,250 As you can see right here, I can click anywhere 56 00:02:56,250 --> 00:03:00,416 and this is the file with the stereo sound to channel. 57 00:03:00,416 --> 00:03:06,500 Stereo sound. I can play it back 58 00:03:06,583 --> 00:03:09,000 and that is the file that I just imported. 59 00:03:09,000 --> 00:03:13,375 Now, if you look over here on the right in the mixer, you're going to see that 60 00:03:13,583 --> 00:03:17,541 it shows a stereo track with two channels and you also see the bus. 61 00:03:17,541 --> 00:03:18,791 There's one bus, 62 00:03:18,791 --> 00:03:22,916 there's every project, and every timeline has to have at least one output bus. 63 00:03:23,125 --> 00:03:26,833 So automatically a stereo bus was created to match the media 64 00:03:26,833 --> 00:03:28,458 that I brought into the timeline. 65 00:03:28,458 --> 00:03:32,750 And watch what happens to that, though, if I bring in this 66 00:03:32,750 --> 00:03:36,500 master file right here Now, this is the Adam master file. 67 00:03:36,500 --> 00:03:39,500 And if I bring that down to the timeline, 68 00:03:39,666 --> 00:03:42,458 I'm just going to drag and drop it to the next track. 69 00:03:42,458 --> 00:03:46,125 It will automatically create 70 00:03:46,208 --> 00:03:48,625 a714 track for me. 71 00:03:48,625 --> 00:03:50,916 I can zoom in on that so you can see a little bit better. 72 00:03:50,916 --> 00:03:53,958 As you can see this is a714 73 00:03:54,041 --> 00:03:55,041 format. 74 00:03:55,041 --> 00:03:58,125 That means this is the master file right there in my timeline. 75 00:03:58,125 --> 00:04:02,125 And if you look at my bussing over here in my right here in the mixer, 76 00:04:02,125 --> 00:04:05,833 you'll see that it's now playing back all of those channels. 77 00:04:06,000 --> 00:04:10,708 And so automatically it switched it over to a Dolby Atmos 78 00:04:10,708 --> 00:04:13,041 bus for output and playback. 79 00:04:13,041 --> 00:04:16,958 And so the one of the reasons that works so well is because we have 80 00:04:17,000 --> 00:04:21,541 the Dolby Atmos renderer built right into Da Vinci results. 81 00:04:21,541 --> 00:04:26,250 So if you're using DaVinci Resolve Studio, you have full access to the internal 82 00:04:26,250 --> 00:04:29,416 Dolby Atmos renderer, which allows you to playback 83 00:04:29,500 --> 00:04:32,333 a atmos master file. 84 00:04:32,333 --> 00:04:36,541 And it will also allow you to generate or create your own 85 00:04:36,625 --> 00:04:38,625 Dolby atmos content as well. 86 00:04:38,625 --> 00:04:41,250 And so we now have this playing back in the timeline. 87 00:04:41,250 --> 00:04:42,291 Let's take a closer look. 88 00:04:42,291 --> 00:04:47,000 I'm just going to compress these a little bit and expand that track. 89 00:04:47,000 --> 00:04:50,750 And when I do that, you can see that there's actually a badge on the 90 00:04:50,833 --> 00:04:53,791 right there on the left side of all of those channels. 91 00:04:53,791 --> 00:04:56,666 And that shows you that this is a Dolby Atmos master file. 92 00:04:56,666 --> 00:05:00,250 That's what that logo show says or that badge. 93 00:05:00,291 --> 00:05:01,583 And so I can actually see 94 00:05:01,583 --> 00:05:05,833 this is the entire clip right here, and I can play it back as is. 95 00:05:05,916 --> 00:05:10,416 I'm going to go ahead and mute that stereo track and then I can play this one back. 96 00:05:10,583 --> 00:05:11,750 And the one thing I haven't done is 97 00:05:11,750 --> 00:05:16,583 I haven't tried to sync this to the video and I can see Shift Z If I look, 98 00:05:16,708 --> 00:05:21,333 I can see that the video and audio tracks don't exactly line up here, 99 00:05:21,583 --> 00:05:24,500 and that's because they are a different duration. 100 00:05:24,500 --> 00:05:27,250 And so one of the things I need to do is just re sync these. 101 00:05:27,250 --> 00:05:31,916 So I'll just select both of the stereo and the video. 102 00:05:31,916 --> 00:05:35,666 It goes with it and I'm just going to move those and snap them to the end. 103 00:05:35,750 --> 00:05:36,416 Here we go. 104 00:05:36,416 --> 00:05:38,416 And that way they will be in sync. 105 00:05:38,416 --> 00:05:40,041 And you're probably wondering, how do I know that 106 00:05:40,041 --> 00:05:43,291 without listening or looking, It's because I've done this a couple of times. 107 00:05:43,375 --> 00:05:47,041 And I also know that there is a two part that the beginning of this. 108 00:05:47,125 --> 00:05:48,291 You hear that too, Pop. 109 00:05:48,291 --> 00:05:51,541 That tells me that the picture star is 2 seconds later. 110 00:05:51,625 --> 00:05:56,000 And so I just need to be on that first frame, move over by 2 seconds, 111 00:05:56,000 --> 00:06:00,208 shift right Arrow And I can see that this is starting exactly 2 seconds later. 112 00:06:00,208 --> 00:06:02,916 So that is how I know that it is in sync. 113 00:06:02,916 --> 00:06:08,416 And then I could play this back 114 00:06:08,500 --> 00:06:09,125 and there it is. 115 00:06:09,125 --> 00:06:13,541 It's playing back right there within Atmos 116 00:06:13,625 --> 00:06:17,333 in order to use Dolby Atmos again, you do have to be working 117 00:06:17,333 --> 00:06:20,625 with DaVinci Resolve Studio, but that then gives you full access 118 00:06:20,625 --> 00:06:24,500 to not only playback Dolby Atmos masters in your timeline, 119 00:06:24,500 --> 00:06:29,916 but also to be able to generate new or export new master files as well. 120 00:06:30,000 --> 00:06:31,375 So now I have this set up. 121 00:06:31,375 --> 00:06:33,083 Let's see what else we can do with this. 122 00:06:33,083 --> 00:06:35,375 We can make our down mixes right now. 123 00:06:35,375 --> 00:06:39,083 Just by going in there and bouncing out or rendering out a down mix. 124 00:06:39,291 --> 00:06:42,125 I can do that right in the timeline if I need to. 125 00:06:42,125 --> 00:06:45,375 So the other thing we can do is change the playback format 126 00:06:45,375 --> 00:06:49,375 so that at any time I can change this up, Sam only have stereo speakers, 127 00:06:49,375 --> 00:06:51,000 but I want to be able to listen to it. 128 00:06:51,000 --> 00:06:55,916 So instead of having it as a714 or file, I can just change it to stereo. 129 00:06:56,000 --> 00:06:58,791 It will still be a Dolby atmos master file. 130 00:06:58,791 --> 00:07:01,958 I'm not actually changing any of the contents within and it will 131 00:07:02,083 --> 00:07:05,333 is still fully expandable to any system that I need, 132 00:07:05,416 --> 00:07:08,458 but at the moment I can change it to whatever my playback is. 133 00:07:08,666 --> 00:07:10,750 And so just to show you how that works, 134 00:07:10,750 --> 00:07:13,166 I'm going to go ahead and change this to stereo. 135 00:07:13,166 --> 00:07:16,666 And when I do that, the Dolby Atmos renderer or the internal render 136 00:07:16,833 --> 00:07:20,291 will go ahead and then just play it back as stereo. 137 00:07:20,375 --> 00:07:21,041 How do I do that? 138 00:07:21,041 --> 00:07:23,125 I'm just going to come over to the clip itself, 139 00:07:23,125 --> 00:07:26,833 right click on that clip and change those clip attributes. 140 00:07:26,916 --> 00:07:30,958 So if I go to clip attributes, I can now change the playback for format. 141 00:07:30,958 --> 00:07:36,000 So right now it says Dolby Atmos 714, and instead I'll change that to stereo. 142 00:07:36,083 --> 00:07:38,583 And when I do that, 143 00:07:38,666 --> 00:07:39,541 even though it's still a 144 00:07:39,541 --> 00:07:42,541 master phone, as you can see, it still has the stereo. 145 00:07:42,583 --> 00:07:45,500 I mean the Dolby badge and I know it's in stereo, 146 00:07:45,500 --> 00:07:48,958 but if I change my track now to stereo, it's 147 00:07:48,958 --> 00:07:51,958 going to play it back as a stereo down mix. 148 00:07:51,958 --> 00:07:54,958 Okay, So I'll be able to listen to it in my speakers 149 00:07:54,958 --> 00:07:56,500 and I'm not diminishing it at all. 150 00:07:56,500 --> 00:07:59,333 If I go to export it, it will still work perfectly. 151 00:07:59,333 --> 00:08:03,500 Okay, So let me make sure I have this in sync and we go. 152 00:08:03,583 --> 00:08:06,000 And so that's that. 153 00:08:06,000 --> 00:08:07,375 I can actually do something with this. 154 00:08:07,375 --> 00:08:12,208 I can render this out right now by just bouncing this file to a new layer. 155 00:08:12,208 --> 00:08:13,750 And that's exactly what I'm going to do. 156 00:08:13,750 --> 00:08:16,041 So I'm going to first mark the clip. 157 00:08:16,041 --> 00:08:19,041 I'll use my range tool and market, and then I'm going to come up here 158 00:08:19,041 --> 00:08:25,125 to the timeline menu and choose to bounce the selected track to a new layer. 159 00:08:25,208 --> 00:08:27,875 And any time I do that, it's basically going to bounce this 160 00:08:27,875 --> 00:08:30,875 into a layer sitting on top of the original file. 161 00:08:30,875 --> 00:08:36,375 So I'm bouncing out a stereo down mix of my Dolby atmos master right now, 162 00:08:36,541 --> 00:08:39,791 and this is just a two channel down mix that I could then send out 163 00:08:39,791 --> 00:08:42,958 or someone could be using for localization or whatever they might need it 164 00:08:42,958 --> 00:08:46,166 for on a system that may not be Dolby Atmos. 165 00:08:46,250 --> 00:08:48,750 And so if you look, the bounced file is now 166 00:08:48,750 --> 00:08:52,500 in my media pool and you can see it right in the timeline. 167 00:08:52,500 --> 00:08:53,875 Let me just zoom in on that 168 00:08:53,875 --> 00:08:56,875 and you can see that's what the stereo dynamics looks like. 169 00:08:57,000 --> 00:08:59,750 I can then play this back 170 00:08:59,833 --> 00:09:03,708 and it should sound pretty good. 171 00:09:03,791 --> 00:09:04,333 There it is. 172 00:09:04,333 --> 00:09:09,541 And because it's over here in the media pool, I can also rename this. 173 00:09:09,625 --> 00:09:12,666 And one thing about naming conventions is obviously you don't 174 00:09:12,666 --> 00:09:16,500 ever want to rename your file names because that makes things 175 00:09:16,500 --> 00:09:20,041 so that they won't reconnect to the rest of the project and so on. 176 00:09:20,208 --> 00:09:23,708 But what we can do in DaVinci Resolve is you can actually give things clip names, 177 00:09:23,708 --> 00:09:24,958 which is like a nickname 178 00:09:24,958 --> 00:09:27,625 where you can give it a name that's more familiar that works for you, 179 00:09:27,625 --> 00:09:31,625 and then you can actually export it using that nickname or the clip name 180 00:09:31,875 --> 00:09:34,958 and you can also then see it that way in the timeline as well. 181 00:09:34,958 --> 00:09:36,958 So I'm going to show you how to do that right now. 182 00:09:36,958 --> 00:09:40,791 We're going to take this bounce file and I'm just going to name this 183 00:09:40,875 --> 00:09:44,625 and Efferent Nature's Fury and then 184 00:09:44,708 --> 00:09:46,583 stereo 185 00:09:46,583 --> 00:09:47,750 down mics. There you go. 186 00:09:47,750 --> 00:09:50,750 So it has a name that I actually mean something to me 187 00:09:50,833 --> 00:09:53,750 now, in the timeline, it's still has the original name, but 188 00:09:53,750 --> 00:09:59,291 I could show this clip name instead by going up to the Fairlight menu 189 00:09:59,375 --> 00:10:03,666 down to the bottom, where it says view clip info display right there, 190 00:10:03,750 --> 00:10:06,750 and then I can choose 191 00:10:06,833 --> 00:10:08,791 what I'd like that info to be, 192 00:10:08,791 --> 00:10:12,000 and I'm just going to change it from name to clip name. 193 00:10:12,083 --> 00:10:14,666 And so by doing that now, it's going to show the clip name 194 00:10:14,666 --> 00:10:17,916 not only in the media pool, but if you look in the timeline, 195 00:10:18,000 --> 00:10:21,791 you'll see that it's now showing a stereo down mic. 196 00:10:21,791 --> 00:10:23,666 So it's got the name that I just gave it. 197 00:10:23,666 --> 00:10:25,291 So that is one thing I can do with this. 198 00:10:25,291 --> 00:10:28,166 Now, something else, I don't have to leave the sitting here. 199 00:10:28,166 --> 00:10:30,833 I could actually just drag this right off of my master file 200 00:10:30,833 --> 00:10:33,583 and just stick it right here in the timeline if I want to. 201 00:10:33,583 --> 00:10:36,958 Now, I still have that original stereo file, which I really don't need right now. 202 00:10:37,041 --> 00:10:39,708 So what I could do is just hide that track any tracks. 203 00:10:39,708 --> 00:10:42,041 You don't need to see it any time we can hide it. 204 00:10:42,041 --> 00:10:43,500 It's already been muted. 205 00:10:43,500 --> 00:10:46,583 And if you want to hide a track, you just go into the index to do that. 206 00:10:46,791 --> 00:10:50,250 So I'm going to hide my media pool first and I'm going to go to my index 207 00:10:50,416 --> 00:10:53,791 and I'm going to choose that first audio track and just hide it 208 00:10:53,875 --> 00:10:57,208 so I can make it any time a track, hide or show 209 00:10:57,208 --> 00:11:01,208 by just clicking on the visibility icon right there in the track list. 210 00:11:01,250 --> 00:11:02,791 So right here you can see in the timeline, 211 00:11:02,791 --> 00:11:06,541 I have my Dolby Atmos master file, which is playing back in stereo right now. 212 00:11:06,750 --> 00:11:09,041 And then below it I have my down mix. 213 00:11:09,041 --> 00:11:12,875 So next I want to actually make a 5.1 down mix as well. 214 00:11:12,958 --> 00:11:16,708 And so I'm going to go up back up to my Dolby Atmos master, 215 00:11:16,916 --> 00:11:22,500 that track, and I'm going to change the track type to 5.1. 216 00:11:22,583 --> 00:11:23,333 And there we go. 217 00:11:23,333 --> 00:11:25,375 So I just made it into a 5.1. 218 00:11:25,375 --> 00:11:31,291 I need this Dell mix format for localization so that I can show or hide the, 219 00:11:31,375 --> 00:11:33,708 let's say the center channel where the dialog is. 220 00:11:33,708 --> 00:11:35,458 So that'll be easier for dubbing 221 00:11:35,458 --> 00:11:38,333 and maybe replacing the music and things like that. 222 00:11:38,333 --> 00:11:41,875 So how do I turn this back into a 5.1? 223 00:11:42,083 --> 00:11:45,125 I just changed the format again in clip attributes. 224 00:11:45,375 --> 00:11:48,000 Keep in mind that at any time with any clip 225 00:11:48,000 --> 00:11:50,916 you can change the attributes to another format 226 00:11:50,916 --> 00:11:54,541 and you can also change your tracks at any time and your busses 227 00:11:54,625 --> 00:11:57,083 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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