Original subtitles

You duty.

My name is Cameron.

Better known as venous theory.

This is the official Uvi YouTube channel.

And you are watching it with. Your.

Eyeballs.

Hopefully.

Last time I was here on the channel, we made a one minute trailer cue

using World Suite two.

And if you haven't watched that, you can go check that video out.

It was a whole lot of fun.

I absolutely love cinematic music and doing.

Trailer work.

And in this.

Video, we're going to be doing a 32nd trailer edit from start.

To finish.

Music is meant to make you feel something, and I think that trailer.

Work. In a way, is kind of like the ultimate form of that, because.

It is purely and.

Absolutely about emotion and feeling and adapting to whatever's.

On the screen.

And it makes you kind of get out of your comfort zone as well.

In terms of abandoning. More.

Conventional music making approaches.

And I find a lot of value in that, even if you're not a media

composer yourself and maybe it's something you don't even have any interest in.

I think.

This is a great creative.

Exercise that makes you dust off some of those music muscles

that might be kind of gathering dust in the. Back of your brain.

And you might learn something that you can take with you into future sessions.

In this video, we're going to be using the Uvi libraries woosh.

Drone, meteor and asteroid.

Which should. Contain everything we need. To do.

A trailer edit.

So let's hop in the door and get it poppin.

First up, obviously we need to.

Watch the trailer and see what we're working with and start getting.

Some. Ideas together.

Let's give this a play, see what we're working with,

and then we'll start getting our notes together.

Rated R okay.

Cut to black creepy warehouse.

Creepy stuff.

Really dark.

Not a good place to be.

On a fast cut.

Sort of claustrophobic.

Want to cut to black?

Creepy hallway.

Oh, freaky burnin thing at the end there.

All right, so from that, I.

Have pulled a few things.

Clicking through, and. Judging by the.

Overall. Tone, this seems to be probably a.

Horror movie or mystery movie.

With elements of action and maybe even a sense of adventure.

It looks.

Like they're sort of explore this.

So I'm getting kind of.

General blockbuster. Vibes.

I think that's.

Kind of the overall tone we're aiming for. Here.

It's modern day.

It's not a period piece. We've got flashlights.

The building looks to be.

Pretty modern construction. And stuff.

So we don't really need.

To do anything period specific in terms of sound.

It seems to be all set in one environment.

The best I can tell.

It looks like it's all set in this creepy abandoned warehouse, and I can't tell.

Where that. Environment is.

There's nothing that gives me.

Any kind of regional indicator.

So probably we're going to go for a more general sonic palette rather than aiming

for any kind of regional.

Sounds to share where the film is taking place.

It all seems to be in this.

Industrial. Warehouse, so. As well we're thinking.

Big. Industrial rooms, big industrial machinery.

We got these cracked walls and.

Big rusty doors and things. Like that.

So sonically, those are some things we want to try and convey.

The first. Thing I like to.

Do whenever I'm doing trailer edits is add a marker track.

Just to indicate any major cuts or transitions that I know I'm going

to want to accent with the trailer.

Edit so I've gone through and just marked any major cuts.

It starts with this.

Cut to black, so I marked where it cuts in, and I think you get the idea.

Here's a cut.

Here's another cut longer sort of thing here.

Cut again to black.

Here's where it comes back in.

And I've marked that.

So I'm not going to make you sit here and watch me do that.

But it's a good idea.

Just so we know kind of the pacing of things

and where we need to punch things up a bit.

All right. Hits are done.

First up here, I've. Added some. Asteroid.

And what I did with this is instead of playing it like.

A drum. Kit, as.

You might traditionally, I've just layered up a.

Few sounds by hitting a few keys at the same time.

Which creates a pretty cool.

Cinematic hit, I think.

And I've used that as kind of one of the main.

Color palettes. As well.

If we listen carefully.

We've got some metallic.

Textures and things that sort of started.

Give it that industrial building thing.

Next up in.

Meteor, I found. This.

Preset, which sounds really neat.

I like that it almost sounds like if.

You were in a big warehouse and you were really far away.

And someone hit like a giant sheet of metal, or.

Closed a very big door.

So that. Layers really, really well.

With that sound, I made an.

Asteroid.

And that gives us sort of the final product.

A lot of this cinematic sound design stuff is simply about.

Layering different textures and timbres.

To further layer things up here, I made one more big.

Hit section, an.

Asteroid with a couple variations to use throughout the trailer.

So I pulled up one of the kits and changed out a few of these sounds.

Because you can change these for any sound

you want and go in and edit them individually.

So I ended up with this.

Which one of them has this big gong thing?

Just a cool.

Extra metallic layer that has that sort of rusty. Feel.

And then later on I did.

The same.

Hit, just removing the. Gong.

Just sort of a.

Darker.

Tone thing that has this kind of.

Foreboding energy to. It. In another instance.

Of meteor, I found this sound called classic Hit two, which sounds like this.

Just sounds like a huge

industrial warehouse slam with meteor.

You have a rise and an impact, and you get full.

Control over all of.

These elements. You can even go in and change out the sounds if you like.

So originally the.

Sound was like this.

But I didn't really need that rise.

I just wanted more of that big.

Kind of metal chunky.

Rusty. Slam.

So I just. Disabled the rise all together.

And there was another layer here to. It

that I thought just felt maybe a bit.

More sci. Fi than like. Industrial.

So I just turn that off and got the final sound here.

Finally closing things off with the hits here at the very end of the.

Trailer, I. Used that long.

Kind of droning.

Metal sound.

But because it's the end of the.

Trailer, I. Felt like that needed a bit more weight.

But I didn't want to use one of these other.

Big. Impacts because.

I feel like we've already done a.

Lot of that, and I like to do a lot of contrast with my.

Trailer edit work, where I.

Kind of do sort of an anti-climax feel, if you will.

So what I did is add this sound called a skyscraper for

just a big chunky downer thing, and.

It layers really. Nicely with that.

It has a lot of the same texture.

But it just punches.

Up the start of it with more of a transient.

With all that done, let's play. Through a bit of the trailer here.

Just to get a sense of what these hits add.

So I'm really just.

Accenting.

Any major cuts in the trailer.

Building up some energy

and at the end.

Sort of dark anticlimax thing.

So that's kind of the.

First thing here.

And it. Helps me make some more informed decisions with.

Adding other elements of where things are and where things build

and where things drop.

With all of our major hit points down in the trailer, now.

It's time to add some swooping. Transitions, risers.

And uplifts down lifts, things like that, just to not only accent

these big hits, but also build a sense of pacing and energy to the.

Trailer.

First up here, I've got.

Meteor with the sound explosion. Brass.

A bit of a

subtle one, but I liked how it kind of sounds like

when leaves roll down the street, or like when paint chips kind.

Of scatter across a concrete floor.

So I thought that was a great texture

that really complements what we're seeing on the screen.

Next up in woosh, I found a Resident Evil, which sounds like this.

It's a really great.

Combination of.

Texture and.

Tone, and I think it fits that industrial vibe

because we have this metallic sound from these horns, but we also have.

This kind of rushing.

Wind thing, like. We're in a large, empty room.

So I think that works well.

In one last instance of woosh!

Here, I found a sound called Metal Hammer.

Which Metal and. Hammer both really.

Fit the industrial tone and I think this works well. Also.

Gives us that

kind of big industrial door closing sort of thing, and should work great.

As you might have noticed by now, I like to keep.

Things pretty simple with trailer. Edits.

I find a lot of the time it's

not about selecting 1,000,001 sounds, it's about finding 5 to 10 sounds.

That really. Just complement what's on the picture.

And. Reusing them and layering them in different ways.

Because by layering these sounds,

you get sort of different sounds, and it just makes your.

Life as the trailer editor composer a lot easier.

One other thing here

that I've. Done

is actually bounce these out to audio, because we're working with timecode.

And we're working with such precise.

Edits. It's very important that these.

Transitions line up exactly where they need to go.

So you can see I've rendered these down to audio and lined them up

precisely with my hit points. So they just line up exactly.

Where they need to go and really work with. These hits.

Queuing up the picture once again, let's take another listen.

Now that we've got our transitions and hits in place.

Cool.

And I think that's going to act.

As our general. Sound bed.

And everything there so far really works for me.

I think with all that done.

Now it's time to really start setting the mood with some drones and stringers.

And I think this is probably the most fun. Part of all this.

Starting things off here, I've used.

Drone, which. In short allows us. To combine two different.

Sources to create these droning. And textures and stuff.

I've also mapped the feedback loop and swarm controls here to my Midi

controller, so I can take this sound.

And get a lot of different movements and textures.

From. It.

This is typically. How I will record these drones.

I'll go through and do sort of a first pass.

Just playing.

Whatever I think. Fits. Then I'll record over that and.

Do some automations to get these movements.

And then I may go.

Back over it once more just to add some.

Gentle.

Pitch warbles by just barely.

Moving the pitch wheel up and down.

And that gives you.

A really. Cool final product.

And again, this is all built up in layers.

This sound. Here is. Calm before the storm.

So I've used this one is kind of the main.

Drone throughout.

The whole thing because it felt sort of spooky and.

Horror or maybe. Actually.

Somewhere around that. Neighborhood.

So I think this kind of sets the overall tone.

And from here

it was about building on top of that with textures that then complement.

This sort of.

Theme that I'm getting from the trailer with the industrial stuff

and those kind of textures.

The next sound I used here is Beauty Chaos.

Which is a really. Nice tonal element.

It has a nice gentle synth.

Brass sort of feel. But you hear we get those shaky.

Shimmery. Textures that add just a sense of creepiness.

And I've used the Chaos Modulator here just because that's going to sort of give.

Me random, shivery.

Spooky chaos now and again, just to complement the long.

Droning. Sustain.

Towards the end of the trailer, I've used augmented strings once.

Again, tying the swarm control to my Midi controller.

To get this really cool.

And then we.

Sort of riser thing.

So it's not necessarily. A drone.

But I've.

Used drone to build a riser that swells.

Up to that last impact.

Below that I've got meteor with the sound quiet Place, and this isn't.

Really a drone. But I usually do kind of tones.

And drones. In the same folder. In this sound. It sounds like this.

So not necessarily an impact, not necessarily.

A drone.

But it does have this sort of soft woo movement to it.

And I felt like that just accented a few points.

In the trailer where it.

Almost acts as a woosh.

Or transition. Effect. For the drones.

Another sound I've used here towards

the end is metamorphosis, which sounds like this.

Which I thought just had a nice creepy texture to it.

So I'm using that in that last build up just to add this sense of anticipation.

One of the other key elements here I've used is low brass.

Just has a nice big distorted feel.

So I've just used a couple low notes from this.

Just to add that sort of stubby energy.

But if we listen to it.

It also has this kind of.

Industrial grating distortion. To it.

I almost picture that.

Like dragging a.

Heavy piece of machinery across concrete or something.

So I felt like that just added.

Another layer to the overall atmosphere, closing off the drone and tone folder.

Here I've got.

Ghost Town, which sounds like this.

Really cool.

Super creepy texture.

And I've used that just kind of as like a.

Rising.

Woosh swoosh motion again, just to add some transitions and filler to the tone.

And drone. Elements.

Queuing up the picture here, let's take a listen to just.

The drone layers.

And see how that adds a nice sense of.

Atmosphere to.

You can see some of them are kind of transition things.

Now we're building, building, building that

oh no.

Creepy hallway.

Burning thing.

And that is all the tonal elements.

As you probably noticed, there's a fairly long.

Tail to this, especially on that last cut.

So I've gone through and just tweaked things with a little bit

of automation here to toggle a mute as soon as that last impact happens.

So we get this really clean boom end of trailer.

So I think. With that we're done.

Let's take a look.

At the final result.

Coming soon to a theater near you?

Not really though.

And that's. Everything for. This one.

That is how you can make a. Trailer edit. Using Uvi.

Woosh, meteor drone.

And. Asteroid libraries. It's a whole.

Lot of fun, and it's a. Great creative. Exercise, like I said.

So do try.

This out for yourself because you might learn a thing or two.

Even if media composition isn't.

Necessarily your thing.

All of the libraries used in this video are available now.

If you want to check them out for yourself,

you can find more information with the links down in the description below.

They all run inside of the free Uvi workstation.

And you can even run them inside of Falcon.

If you really want to take. Them up a notch and get crazy.

Thank you to Uvi for having me here on the channel.

Once again, thank you for watching. I hope you enjoyed it.

I hope you learned something and as always,

I hope this inspires you to get out there and make something awesome.