IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi! I'm Scott Hirsch and welcome to
Mixing a Short Film with Adobe Audition.
| | 00:09 | In this course we'll explore a
powerful audio workflow for the audio of your
| | 00:13 | short film, or other multimedia video project.
| | 00:16 | I'll start by showing you how to
export audio tracks from the Premiere
| | 00:20 | video editing software.
| | 00:22 | Then we'll get going in Audition
with a useful film-and-video-specific
| | 00:26 | template to work from.
| | 00:27 | I'll then show you how to consolidate,
edit, and clean up your dialogue and sync
| | 00:33 | tracks using Audition's
powerful editing tools and cross-fades.
| | 00:37 | We'll see how to get rid of unwanted
hums and broadband noise using tools like
| | 00:42 | the built-in DeHummer and
broadband noise reduction plugins.
| | 00:47 | We'll then look at techniques on how to
use Audition's automation and clip gain
| | 00:52 | to balance and tonally shape
your tracks to get the perfect mix.
| | 00:57 | Now let's get started with Mixing
a Short Film with Adobe Audition.
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| What you should know before watching this course| 00:00 | Before we begin, I want to point out a
few important bits of information about
| | 00:04 | the workflow and the software
requirements for this course.
| | 00:08 | Parts of this course specifically
mention a workflow from Adobe Premiere to
| | 00:12 | Adobe Audition and back.
| | 00:14 | While this is a widely used and useful
workflow, it's only optional that you're
| | 00:19 | using Premiere to benefit from this course.
| | 00:22 | On its own, Adobe Audition has the
capacity to import OMF files, and many
| | 00:27 | other video editing softwares like Avid and
Final Cut Pro support exporting to this file type.
| | 00:33 | When we're done, we're simply
exporting audio files back to Premiere, so any
| | 00:39 | video editing program can
reimport these files as well.
| | 00:42 | A quick word about Audition: we'll be
using Adobe Audition CS6, and we'll be
| | 00:48 | looking at a few features
that are specific to CS6,
| | 00:52 | but many of the techniques we cover
in this course are also available for
| | 00:55 | earlier versions of Audition.
| | 00:57 | So, the goal of this course is to
show you a possible workflow, but more
| | 01:01 | importantly, also, to explore how to
go about finessing and enhancing the
| | 01:05 | audio for your project.
| | 01:07 | I worked to design a course that uses
some very powerful techniques in Audition,
| | 01:12 | yet from the point of view that
you're not an Audition expert or even
| | 01:15 | necessarily a frequent user of the
software, I wanted to concentrate more on the
| | 01:19 | approach of mixing audio for film rather
than all of the technical possibilities
| | 01:23 | of the Audition software.
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| Using the exercise files| 00:00 | If you are a premium member of the
lynda.com online training library, you have
| | 00:05 | access to the exercise files
used throughout this title.
| | 00:09 | The exercise files have been
compressed to a ZIP file called Exercise Files.
| | 00:14 | Download and uncompress this file and
you'll see a folder called Exercise Files.
| | 00:19 | In this folder, you'll see the Adobe
Audition session files and the accompanying
| | 00:22 | audio files we'll work with in this course.
| | 00:25 | I included one master session
folder called Castles_audition.
| | 00:30 | In here, there are bunch of Audio
Session files that correspond to the beginning
| | 00:35 | and end of all appropriate
chapters for this course.
| | 00:38 | These are the .sesx files.
| | 00:41 | You can double-click on these or open
them from the File menu in Audition.
| | 00:45 | The media for all these files is
collectively shared in the Audio Files folder.
| | 00:50 | As long as you copy the
Castles_audition folder to your work hard drive and
| | 00:55 | don't go moving folders
around, all files should link up.
| | 00:59 | The first time you open it, or if
something gets moved, Audition might ask you
| | 01:03 | to relink the files.
| | 01:04 | In that case, just navigate to the
place where the files are and Audition will
| | 01:08 | automatically relink the rest of the files,
as long as the files are present on your drive.
| | 01:15 | If you're a Monthly or Annual
subscriber to lynda.com and you don't have
| | 01:19 | access to the online training materials,
that's okay too; you can follow along
| | 01:23 | with your own media. All right, great!
| | 01:25 | Let's get started on Mixing a
Short Film with Adobe Audition.
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1. Getting StartedThe Audition workflow| 00:00 | Why do we want to take our audio out
of the video editing software we're
| | 00:03 | working in, like Premiere?
| | 00:05 | It does have audio capabilities already.
| | 00:07 | This is a perfectly valid question.
| | 00:10 | In this movie, I'll outline some key
reasons why you'd want to go through the
| | 00:13 | trouble of exporting your
audio tracks to Adobe Audition.
| | 00:16 | First and foremost, Premiere is
primarily a video editing software.
| | 00:21 | There are some audio features bundled
in there, but the whole architecture of
| | 00:25 | the program is built around editing
video and working with the visual aspects
| | 00:29 | of your short film.
| | 00:30 | So, if you're willing to make the
jump and follow me through this course,
| | 00:34 | you'll be able to take control of your
audio and to use the right tool, which in
| | 00:38 | this case is Audition.
| | 00:39 | It's a very powerful editing and
mixing software that's designed to master
| | 00:43 | one thing: your audio.
| | 00:45 | When you're done, you'll be able to
export the finalized tracks and flattened
| | 00:49 | mix stems back to Premiere.
| | 00:51 | I'm going to step into Adobe Audition,
and I want to point out a few reasons why
| | 00:55 | using it will benefit your workflow.
| | 00:57 | What we see here is a multitrack
Audition session containing the end result of
| | 01:03 | the course: our mixed short film.
| | 01:05 | Audition gives you the ability to
objectively view and listen to each of your
| | 01:09 | source audio files in a very detailed way.
| | 01:12 | In the Waveform view, we have the
capacity to view the more traditional
| | 01:16 | amplitude-based waveform in green, but
also the frequency imprint of the audio
| | 01:21 | over time as well in this lower view. And you
can selectively edit your audio in both windows.
| | 01:28 | Audition ships with an arsenal of
extremely powerful processing tools like the
| | 01:33 | Parametric EQ and powerful
noise-reduction processing plugins as well.
| | 01:38 | These can help you harness the best
aspects of your sound and fix problem areas.
| | 01:45 | Also, when you're ready to mix your
tracks, you get very high resolution and
| | 01:48 | flexibility with your
volume and plugin automation.
| | 01:52 | Essentially, every parameter can be
automated to enhance your mix to its fullest.
| | 01:56 | As we continue, we'll go through all
you need to know how to make it easy to
| | 02:00 | integrate Audition to mix
your short film project.
| | 02:03 | Trust me, you and your
audience will appreciate it.
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| Initial setup and views| 00:00 | Since Adobe Audition is not
strictly an audio-for-video application, it
| | 00:05 | isn't automatically configured for the kind
of work we'll be doing on our film soundtrack.
| | 00:09 | So in this movie, I'll go over some
settings and ways to manipulate the Window
| | 00:13 | view so the look and functionality
will be better suited for our needs.
| | 00:16 | We'll also explore and customize
Audition's handy premade Film Sequence
| | 00:21 | template for use on our short film.
| | 00:23 | First, let's open up Audition.
| | 00:25 | To make a new multitrack
session, click Multitrack.
| | 00:28 | Since this is the first time clicking it,
you'll be prompted to save a new session.
| | 00:34 | Let's name it my audition template, and we
will save the folder location to the desktop.
| | 00:39 | Let's use the template
called Film Sequence Stereo.
| | 00:43 | The next parameters will become
grayed out since they are taken care of by
| | 00:46 | the template itself.
| | 00:48 | Those parameters should be
suitable for our project.
| | 00:50 | Now, you're brought in to the Multitrack Editor.
| | 00:53 | This is where you'll see the timeline
and do most of your work in this course.
| | 00:56 | Once this is opened, go into the Workspace
pulldown menu and choose Edit Audio to Video.
| | 01:01 | Since we were doing a lot of that in
this course, this window arrangement
| | 01:05 | will work great for us.
| | 01:06 | Let's look around here a little bit.
| | 01:08 | You'll notice there are a
bunch of premade tracks here.
| | 01:11 | In audio for video, it's customary
to break down your audio into stems.
| | 01:15 | Imagine a tree with a bunch of
branches stemming out from the main trunk.
| | 01:19 | In this template, we have Dialog stems,
Character ADR stems, which are dialog
| | 01:24 | replacement tracks when the
actor rerecords his lines.
| | 01:27 | There are also Music stems, FX stems
where you'd be putting Hard FX, like
| | 01:33 | the sound of a cellphone being used, and also
background FX like beach or office ambience.
| | 01:38 | And finally, a Foley stem, where you
can record sound effects that need to be
| | 01:42 | performed while watching
the video to get it right.
| | 01:45 | You'll also notice here that there are
these green tracks accompanying the gray tracks.
| | 01:49 | These are acting as stem master tracks that
the individual gray tracks are being sent to.
| | 01:54 | They are effectively a way to group and
sub mix the stem members, or have control
| | 01:59 | over the volumes of only that specific stem.
| | 02:01 | These would be very useful when it comes
time to finalize our mix too, since you
| | 02:05 | can use these to output individual stem
mixes as well as the final combined mix
| | 02:10 | file of all the stems.
| | 02:12 | Let's switch our view to show the Mixer
window instead of the Multitrack Editor.
| | 02:16 | Here's another view of the tracks, only
you get to see them vertically with the
| | 02:20 | traditional mixer-type view.
| | 02:21 | One thing I want to point out here is
that this template comes with some fx
| | 02:25 | settings already enabled.
| | 02:26 | All dialogue tracks have a Speech
Volume Leveler effect enabled.
| | 02:30 | If we double-click on it, it has some
default settings which should aide in
| | 02:33 | leveling out the dialog
volume in our dialogue stem.
| | 02:36 | These effects could be helpful or we
might choose to turn them off during
| | 02:40 | parts of this course.
| | 02:41 | You can turn on and off fx by the
little power button located on the effect.
| | 02:46 | You'll also notice that the lower
pulldown menu here is the output of all the
| | 02:50 | tracks and if you follow these, you'll
see that all dialogue tracks are set to go
| | 02:54 | into the Dialog Master stem and then
on the Dialog Master stem, that stem's
| | 02:59 | output goes to the master, which is
the final stereo output of all the stems.
| | 03:03 | To facilitate our workflow, we'll also
change the way our track Solo button works.
| | 03:08 | The Solo button lets you hear one
track at a time and effectively mutes all
| | 03:13 | other tracks so you can
single out any specific track.
| | 03:17 | By default, Audition allows you to
latch more than one of these together; it's
| | 03:21 | called nonexclusive solo behavior.
| | 03:24 | But for postproduction audio, it's
better to only solo one at a time so we can
| | 03:28 | compare what's on one track versus another one.
| | 03:31 | Let's change that in the Preferences >
Multitrack > Track Solo, to Exclusive.
| | 03:37 | While we're here in the Preferences,
let's also take a look at the Time
| | 03:41 | Display preferences.
| | 03:43 | Under Time Format is a list of all the
different SMPTE timecode options you
| | 03:47 | might need when you're
working on different video formats.
| | 03:51 | It's good to know this is here.
| | 03:53 | Finally, we'll need to make a few more tracks.
| | 03:55 | I know for a fact we'll need a couple
more dialogue tracks for this project.
| | 03:59 | So let's select the last dialogue track and choose
| | 04:02 | Multitrack > Track > Duplicate Selected Track.
| | 04:05 | Notice that it keeps all the output
settings of the track you duplicated.
| | 04:09 | In this case, the dialogue stem routing is intact.
| | 04:11 | Let's do this again, and then we'll
rename both of these tracks by clicking on
| | 04:16 | the name to Dialog 5 and Dialog 6. Great!
| | 04:23 | This new template we made can
be opened every time we work.
| | 04:26 | You can save it in the list of
available templates by going to
| | 04:29 | File > Export > Session as Template.
| | 04:31 | We can also just do a regular save
and save it as a .sesx session file.
| | 04:36 | Let's do that and we'll go
ahead and save and close it.
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| Exporting audio and video from Premiere Pro| 00:00 | The video editing software Premiere and
the audio software Audition, both being
| | 00:04 | Adobe products, offer a very
useful workflow for your audio.
| | 00:08 | Premiere can export either
individual clips or an entire sequence into
| | 00:13 | Audition really easily.
| | 00:14 | In this movie, we'll go over the
steps required to take the audio from your
| | 00:18 | short film sequence in Premiere
and send it to Audition to work on.
| | 00:21 | Now, remember, if you're following along
with the lynda.com Exercise files media,
| | 00:26 | we did not provide you with the
Premiere source files, only the end result of
| | 00:30 | this exchange: the Audition sessions.
| | 00:32 | So, I'm demonstrating here to show
you what the workflow would look like.
| | 00:36 | You're free to follow along with your own
Premiere sequence. The steps would be the same.
| | 00:41 | There are two ways to move
audio from Premiere to Audition.
| | 00:45 | The first is on a clip-by-clip basis.
| | 00:47 | At any time during the video edit,
you can bring in an individual clip into
| | 00:51 | Audition, work on it, and then
automatically update it back in Premiere.
| | 00:55 | I'll use this clip I have up in
the Source window to demonstrate.
| | 00:59 | Let's listen to this clip of audio.
| | 01:01 | (Mr. Dalton: We all know what risky decisions lead to.)
| | 01:05 | Now, if I choose Edit > Edit in Adobe
Audition, you'll see Clip is lit up.
| | 01:10 | If I choose this, it will open this
clip in Audition's Waveform Editor.
| | 01:14 | Here you can work on this
clip in a very detailed way.
| | 01:17 | You can view its waveform
display and its frequency fingerprint.
| | 01:21 | We'll talk more on these kinds of
views later, but now let's add an obvious
| | 01:25 | filter to it from the Effects Menu.
| | 01:27 | We'll choose Effects > Convolution Reverb.
| | 01:31 | We'll click Apply and then let's
listen back to this piece of audio.
| | 01:35 | (Mr. Dalton: We all know what risky decisions lead to.
We all know what risky decisions lead to.)
| | 01:41 | So, we hear a kind of roomy-sounding
reverb, and this will be obvious when we
| | 01:45 | bring it back in Premiere.
| | 01:47 | Now, let's tab back over to Premiere
and we're going to replay the clip.
| | 01:51 | You can see, it will to automatically
update and let's listen to the clip in Premiere.
| | 01:54 | (Mr. Dalton: We all know what risky decisions lead to.)
| | 01:58 | Cool! So you can see the changes we made
in Audition just updated right into Premiere,
| | 02:02 | and we can keep on working on our video edit.
| | 02:04 | But in this course, we're actually more
interested in sending the whole sequence
| | 02:08 | to Audition and keeping it
all in there to edit and mix.
| | 02:12 | That's the most typical workflow you'd
used to mix a short film, documentary,
| | 02:16 | or whatever, and it will give you the most
freedom and the best results in the long run.
| | 02:20 | So to do this, we'll select the
sequence from the Clips bin on the left here,
| | 02:24 | then we'll go up and choose Edit >
Edit in Adobe Audition, and you'll see
| | 02:28 | Sequence is lit up.
| | 02:29 | When we choose this, we'll get some
choices about what to name our sequence.
| | 02:34 | We'll keep it named Castles.
| | 02:36 | We'll also be asked where to save the media.
| | 02:38 | Premiere will automatically make an Adobe
Audition Interchange folder for the audio files.
| | 02:43 | Now, we want the entire
sequence, so we'll keep that.
| | 02:47 | For Handles, this refers to how much
you get to pull out of the boundaries of
| | 02:51 | the clips once it goes into Audition.
| | 02:54 | We probably want more than one
second to have more freedom in our edit.
| | 02:57 | Let's choose 10 seconds.
| | 02:59 | We can export the preview video to
bring into Audition so we can see it there.
| | 03:03 | For this option, we probably don't
want to render audio effects. Since we have
| | 03:07 | more control over effects in
Audition, we'll leave this one unchecked.
| | 03:10 | For the Send Clip Volume Keyframe
Metadata, we'll leave this checked, because we
| | 03:14 | do want our volume information to come across.
| | 03:17 | Finally, we'll check Open in Adobe Audition.
| | 03:19 | When we hit OK, we will be brought into an
Adobe Audition Multitrack Session with
| | 03:25 | 12 source tracks and the video track as well.
| | 03:28 | This is a very painless and easy way
to get the source material out of your
| | 03:33 | video editor--Premiere--and into your
audio editor--Audition. It's very slick.
| | 03:38 | Now, from this point in the course,
we'll be working offline from Premiere.
| | 03:42 | When we're done with our mix in Audition,
we'll reimport the final mix files and
| | 03:46 | optionally, the separated mix stems will create.
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2. Editing Dialogue and Location SoundFirst steps| 00:00 | Now that we've successfully imported
our media from Premiere to Audition, it's
| | 00:04 | time to start sifting through the
material on these tracks and breaking out
| | 00:07 | these clips to their appropriate stems.
| | 00:10 | In this movie, we'll import these
tracks into our template that contains our
| | 00:13 | stem routing and look at the best way
to sift through these tracks, keeping
| | 00:17 | only what's useful.
| | 00:18 | Here in this session is all of our
imported clips and tracks from Premiere.
| | 00:22 | Let's select all the clips by
dragging a selection around them.
| | 00:25 | Now, we'll type Command+C for Mac, Ctrl+C
for Windows to copy them to the clipboard.
| | 00:30 | Next, we'll open a new session.
| | 00:32 | Let's open the my audition template
session from the Media Browser window.
| | 00:37 | Notice Audition allows only
one session to be open at a time.
| | 00:41 | We'll be importing our copied tracks to
this session, so let's first import the video.
| | 00:45 | We'll choose Multitrack > Track > Add Video Track.
| | 00:51 | Now that you have the video track made,
we'll drag in the Castles.mov to the
| | 00:55 | beginning of the track.
| | 00:57 | You can also name the video track Castles.
| | 00:59 | Now, notice by the movie's timecode
burn that it starts at zero hours, 59
| | 01:04 | minutes, and 30 seconds, zero frames,
and our timeline here from this template
| | 01:09 | starts with 00:00:00:00
as its starting timecode.
| | 01:15 | We need to make our template match the movie.
| | 01:17 | So, first click anywhere in the
Multitrack section to deselect.
| | 01:20 | Then we'll go to Properties,
up next to the video window.
| | 01:24 | Here, we can change the Start Time to
match zero hours, 59 minutes, 30 seconds,
| | 01:30 | and zero frames, just like the movie.
| | 01:32 | Now, use the Selection/View window to
position the cursor at 00:59:58 and zero
| | 01:40 | frames, because that is the first
location of sound in the clips we're going
| | 01:45 | import where the two-pop is, two
seconds before the start of the film, which is
| | 01:49 | at timecode hour one.
| | 01:51 | Now, select the last track in the
session and type Command+V for Mac, or Ctrl+V
| | 01:55 | for Windows to paste in all
of our clips. There we go.
| | 01:58 | Now, we've merged the two sessions.
| | 02:00 | Above we have our template and below we
have our clips, and they should all be in sync.
| | 02:05 | The next steps are where we're going to
really start to get our hands dirty.
| | 02:08 | We're going to start going through all
the clips from the original tracks and
| | 02:10 | moving them up in the appropriate
dialogue, effects, music tracks, ADR tracks.
| | 02:16 | You'll need to listen and make some quality
judgments about the audio when you do this.
| | 02:20 | Most of this material is going to end up
in the dialogue track, since there hasn't
| | 02:23 | been a bunch of effects or
music added yet to the movie.
| | 02:27 | But in here, we'll find ADR tracks and
some sound effects tracks that will have
| | 02:30 | to be categorized appropriately.
| | 02:32 | But even within just the dialogue sync
tracks, we're going to have to come up
| | 02:35 | with a strategy to keep things organized.
| | 02:38 | The first rule of thumb here is that if
there's nothing but noise or it sounds
| | 02:41 | like garbage in the clip, we
can ignore it and delete it.
| | 02:45 | Sometimes clips like this get
overlooked or are grouped with other useful clips
| | 02:48 | in the video edit, so it's normal
to have to have these hanging around.
| | 02:52 | The first two clips of the movie actually
look and sound like they have nothing on them.
| | 02:57 | Let's zoom in to see. It doesn't
look like there's any waveforms.
| | 03:00 | On a Mac or PC, we can use
the equal key to zoom in.
| | 03:03 | We can also use the Option+Equals on a Mac to
zoom in vertically and the Alt+Equals on the
| | 03:08 | Windows to zoom in vertically.
| | 03:10 | And if we play them with the
Solo button, we don't hear anything.
| | 03:13 | So these are just kind of dummy
clips that just ended up in our session.
| | 03:17 | We can select both of these and we
can type Delete to get rid of them.
| | 03:22 | Now, further down the timeline and lower
down, we have six clips on these tracks below.
| | 03:28 | One of them is a voiceover. It's the
female reporter voice, and the other is the Mr.
| | 03:33 | Dalton character talking off screen.
| | 03:35 | (female speaker: Once award-winning
architect fails to deliver on his downtown music hall.)
| | 03:41 | (Mr. Dalton: Joseph is our most gifted architect.
He takes risks. We all know it.)
| | 03:48 | When we examine these clips further, by
zooming way in to them, and opening in the
| | 03:52 | tracks wide, we'll notice the clips
are actually the same thing duplicated.
| | 03:56 | And the reason we know this is that we
can look at their waveforms here and see
| | 04:00 | that the waveforms are identical
from the top clip to the bottom clip.
| | 04:05 | Having duplicated clips like this not
only makes things louder, it also makes
| | 04:09 | things more confusing in our edit,
and we have more to deal with.
| | 04:12 | So in this case, we can simply just
select the bottom three and delete them.
| | 04:18 | Now, a very crucial key command here
when you're during this stage of your edit
| | 04:21 | is to use the Shift button.
| | 04:23 | When you hold the Shift button down
and click and drag a clip from track to
| | 04:26 | track, it keeps its position in time.
| | 04:29 | Without holding the Shift button as you
move a clip from track to track, you're
| | 04:32 | in danger of sliding clips
out of sync as you move them.
| | 04:35 | So now we'll Shift+Drag each of these
clips in the appropriate stem tracks.
| | 04:40 | These are both considered ADR, or
Dialogue Replacement Tracks, so I'll drag them
| | 04:44 | to those respective tracks.
| | 04:46 | Now, as you can see, you have
a lot of work in front of you.
| | 04:48 | Each clip has to be gone through
meticulously and categorized and placed on a
| | 04:52 | track that makes sense for its sound.
| | 04:55 | In the first scene, you'll notice
that some dialogue actually has two mic
| | 04:58 | sources and it's not a duplicated clip.
| | 05:00 | Take for example Mr.
Dalton's first line. Let's listen.
| | 05:04 | (Mr. Dalton: You know, I'm taking a big risk
putting you on this Columbia project.)
| | 05:10 | Now, when we zoom in on these
waveforms, we'll show that there are actually
| | 05:14 | three different mic sources.
| | 05:15 | We solo the first one and listen.
| | 05:18 | (Mr. Dalton: You know, I'm taking a big risk
putting you on this Columbia project.)
| | 05:26 | That's the boom track.
It's the most natural-sounding track.
| | 05:29 | Let's solo the second one and listen.
| | 05:31 | (Mr. Dalton: You know, I'm taking a big risk
putting you on this Columbia project.)
| | 05:35 | Now, that's the lavalier
track, a clip on lavalier.
| | 05:39 | It sounds really close and it's a
little more unnatural sounding than the boom,
| | 05:42 | but it's really clear and full.
| | 05:44 | Let's listen to the most bottom clip.
| | 05:46 | (Mr. Dalton: You know, I'm taking a big risk
putting you on this Columbia project.)
| | 05:51 | As you can tell, this clip
sounds distant and roomy.
| | 05:54 | It's probably the camera mic.
| | 05:55 | We can actually discard this last one;
it won't be useful, but the other two
| | 05:59 | might be useful to blend together.
| | 06:01 | So we'll select them both and
Shift+Drag them up to the Dialog 1 and 2 tracks.
| | 06:05 | Now, it's going to sound choppy here
for a little while, but the point is to be
| | 06:11 | consistent and put like
sounds on the same track.
| | 06:14 | Later, we'll be able to make it more smooth.
| | 06:17 | One thing you have to overcome is that
the tracks may have gotten out of order
| | 06:19 | during the video edit.
| | 06:21 | The lavalier might be on top in one shot
and the boom on the bottom and vice versa.
| | 06:26 | This is something we need to use our
listening skills to overcome as we go
| | 06:29 | through all these different clips.
| | 06:30 | When we've gone through all the clips
and placed them, our session will end up looking like this.
| | 06:34 | As you can see from our completed
session, the best sounding sources have been
| | 06:38 | placed on the appropriate tracks.
| | 06:39 | It's far from perfect, but it's a
really good start and much more easy to deal
| | 06:43 | with than the mess we had from
the original Premiere Export.
| | 06:46 | Obviously, you can't have a track for
every character, so the convention is to
| | 06:50 | use the top few tracks for the first
scene, then the next few tracks for the
| | 06:54 | next scene, then back to the first
few tracks for the following scene.
| | 06:58 | This is referred to as checkerboarding.
| | 06:59 | When we're done, we have a completely
categorized and organized broken-out audio
| | 07:04 | session in Audition that's ready for action.
| | Collapse this transcript |
| Editing dialogue: Part one| 00:00 | At this stage of our project, we've
taken the time to break out the original
| | 00:04 | Premiere sequence clips into
all of our template tracks.
| | 00:07 | As you can see here, we've narrowed our
session down to only the necessary clips,
| | 00:11 | and they're all neatly
organized in the timeline,
| | 00:12 | checkboarding back and forth in
the dialogue tracks between scenes.
| | 00:17 | In this movie, we'll explore some
techniques that will help finesse these
| | 00:20 | newly organized clips into coherent dialogue
tracks that play seamlessly through a scene.
| | 00:26 | First of all, let's look
at one editing preference.
| | 00:29 | In Audition > Preferences > Multitrack,
you'll see a checkbox for Automatically
| | 00:35 | crossfade overlapping clips.
| | 00:37 | Let's leave that off for now so we
can make some edits without crossfades.
| | 00:42 | Now, back in the timeline, the second
scene in the movie is a pretty standard
| | 00:45 | dialogue track layout.
| | 00:47 | On the top track--Dialog 4--I've
edited only the boom microphone source.
| | 00:53 | It's by far the most natural sound.
| | 00:55 | It does have a bit of room echo in it.
| | 00:57 | The two tracks below are the two
lavalier tracks of the characters.
| | 01:01 | The top one and Dialog 5 is the
assistant character's lavalier, and Dialog 6
| | 01:06 | contains the young
architect character's lav mic.
| | 01:09 | We'll use these lav tracks to fill in
the sound of the actors against the boom
| | 01:13 | track only when they speak.
| | 01:15 | The first order of business is
to clean up the boom track's edit.
| | 01:18 | Make sure it's seamless and without
skips or bumps, because this is going to be
| | 01:22 | the Master track for the
scene. So, let's Solo it.
| | 01:25 | We'll make it nice and wide
so we can see what we're doing.
| | 01:28 | Now, one editing tool that's going
to be really useful here is called the
| | 01:30 | Trimmer tool, and it shows up and becomes
active when you move to the edge of clips.
| | 01:36 | We'll demonstrate the Trimmer tool here in
this clip when the assistant says, "Is it ready?"
| | 01:40 | The line's off camera and then
he says, "I see." Let's listen.
| | 01:44 | (Assistant: Is it ready? I see.
Joseph: No.)
| | 01:55 | Now, in the next clip, we
have him just sigh and say 6 pm.
| | 01:59 | Let's listen to that.
| | 02:00 | (Assistant: 6 p.m.)
| | 02:04 | Okay. So, we decided just to keep the sigh and
get rid of the "I see," since it's off camera.
| | 02:09 | So, we can use the Trimmer to
remove it and drag in the preceding shot.
| | 02:14 | Let's take a listen to that.
| | 02:15 | (Assistant: 6 p.m.)
| | 02:22 | Now that worked, but you can still hear
a little noise in between the two clips,
| | 02:26 | from the proceeding scene.
| | 02:28 | So, your first instinct might be just
to cut that noise out, but remember, our
| | 02:32 | goal here is to make it seamless, no dropouts.
| | 02:35 | So we have to fill it in with some roomtone.
| | 02:38 | We can select an empty area, such as
right before the clip, choose the Time
| | 02:43 | Selection tool, and select an area
before when it's just room tone.
| | 02:47 | Now, we're going to copy this to the
clipboard, so we'll use Command+C for Mac
| | 02:51 | or Ctrl+C for Windows and copy
this content to the clipboard.
| | 02:55 | Next, we'll make a selection only where
we want to paste it, and this time type
| | 02:59 | Command+V on Mac or Ctrl+V on Windows to paste.
| | 03:03 | Okay good, now let's take a listen to this edit.
| | 03:05 | (Assistant: 6 p.m.)
| | 03:10 | Next, we want to make sure every edit
has at least a tiny crossfade, again to
| | 03:15 | avoid any bumps in the road.
| | 03:16 | So, we'll go back to the
Preferences > Multitrack, and we'll recheck
| | 03:21 | Automatic crossfades.
| | 03:23 | Now, we'll switch back to the Move
tool, and we can click and drag out small
| | 03:28 | crossfades between our edited clips.
| | 03:30 | We can also create fades in and out
by dragging the Fade icon from the top
| | 03:35 | corners of any clip.
| | 03:36 | So, we'll continue to work through the
Boom mic on this scene, checking each edit
| | 03:42 | and making crossfades over each edit.
We'll also be copying and pasting room-
| | 03:46 | tone where necessary to
make it as clean as possible.
| | 03:49 | Eventually, we'll do this for the whole film.
| | 03:52 | The end session file for this
chapter will show the results.
| | 03:57 | (Assistant: 6 p.m.)
| | Collapse this transcript |
| Editing dialogue: Part two| 00:00 | We're continuing our
dialogue edit here for this scene.
| | 00:03 | We've gone through and made a clean
boom track, and now we'll explore some
| | 00:06 | techniques for the lavalier tracks,
which we plan to blend into the boom tracks
| | 00:10 | and make them a little more solid sounding.
| | 00:12 | Lavalier mics are tricky. They need
to be brought in and out unnoticed,
| | 00:16 | so fading in and out of them,
as we've done here, is crucial.
| | 00:20 | In addition, we'll need to talk
about the negative effect blending two
| | 00:23 | microphones can have on the sound.
| | 00:26 | Because the sound is hitting the boom
mic and the lavalier mic at slightly
| | 00:30 | different times in space, the
closest mic--in this case the lavalier mic--
| | 00:35 | is receiving the sound slightly before the
boom mic, which is a little farther away.
| | 00:39 | The technical term for this is that
the mics are slightly out of phase.
| | 00:43 | Let's listen to Dialog Track 4 where the
architect's first line is on the boom only.
| | 00:49 | We'll solo that track and listen.
| | 00:50 | (Joseph: Is he sending you in here
with scripted-out dialogue and everything?)
| | 00:55 | All right! That sounds okay.
| | 00:56 | Now, let's listen to this same
dialogue from the Lavalier track on Track 6.
| | 01:00 | We'll solo that and listen to that.
| | 01:02 | (Joseph: Is he sending you in here
with scripted-out dialogue and everything?)
| | 01:08 | Okay. So, you'll notice that it sounds
different, but they both sound okay on their own.
| | 01:12 | Now, we'll listen to the two of them blended.
| | 01:14 | I'm going to hit Command, or that would
be Ctrl on a PC, to solo both of these
| | 01:19 | tracks, and we'll listen
to them blended together.
| | 01:21 | (Joseph: Is he sending you in here
with scripted-out dialogue and everything?)
| | 01:25 | Now, in comparison, it
sounds kind of hollow, right?
| | 01:28 | This is due to the phase issue between
the mics. It's a common phenomenon that
| | 01:32 | you encounter in this kind situation.
| | 01:34 | So, what's the solution?
| | 01:36 | The solution is to look closely at
the waveforms and line them up better.
| | 01:40 | This is one of those tasks you need in
audio system like Audition to accomplish.
| | 01:45 | So now, we'll pull the Dialog 6 track
right up next to the Dialog 4 track, and
| | 01:50 | we'll increase our zoom vertically
and horizontally so we can see the
| | 01:53 | waveforms very well.
| | 01:55 | Now, when we're comparing the two this
close up, you can see the peaks of the
| | 01:59 | waveforms are just a
little off from one another.
| | 02:02 | So, we're going to slide the bottom
lavalier track ever so slightly so
| | 02:07 | the waveforms line up.
| | 02:08 | But first we have to disable snapping.
| | 02:11 | Up till now, clips have been moving
with relation to a background frame grid.
| | 02:15 | This is usually good since it can
help keep things in sync, but we want to
| | 02:19 | disable it for this micro adjustment
we're about to make, moving this clip well
| | 02:23 | under a frame from left
to right in the timeline.
| | 02:25 | So, we're going to move this clip
slightly over so the waveforms line up, and now
| | 02:30 | we'll zoom out little bit and take
a listen to both of them together.
| | 02:34 | (Joseph: --you in here
with scripted-out dialogue and everything?)
| | 02:39 | So, that's much better sounding now.
| | 02:40 | So, anytime you have to use two mic
sources, you have to be aware there might be
| | 02:44 | this kind of phase issue at play.
| | 02:47 | So now, it does get a bit time
consuming, but we would want to continue using
| | 02:50 | these methods to complete this scene
and all the scenes with a lav and a boom
| | 02:53 | for the best-sounding dialogue tracks.
| | Collapse this transcript |
| Fixing hum problems| 00:00 | We're going to take a look at some
noise problems you might encounter when
| | 00:03 | you're editing your dialogue tracks.
| | 00:05 | Continuous tonal noise problems like a
refrigerator or a machine-based hum are
| | 00:10 | really common, but sometimes these
are the easiest types of noise to fix.
| | 00:15 | In this movie, we're going to look at
removing a hum from a scene using the
| | 00:19 | DeHummer equalizer plug-in.
| | 00:21 | On Dialog Track 4 Mr. Dalton is
sitting at his desk for this scene.
| | 00:25 | There's no dialogue here, but we'd like
to preserve the sound of his movements.
| | 00:28 | Unfortunately, there's a really
annoying hum that makes the scene hard to
| | 00:32 | watch or listen to.
| | 00:33 | Let's take a listen.
| | 00:34 | (audio playing)
| | 00:46 | Okay, that's a pretty pronounced hum.
| | 00:47 | But luckily, we can use a specialized
hum-removal equalizer called DeHummer to
| | 00:51 | notch out the offending
frequency and save the day.
| | 00:55 | First, we need to locate the audio
frequency at which the hum is active.
| | 00:59 | When we double-click any audio clip in
Audition, we're brought into the Waveform
| | 01:03 | Editor, where we can see that clip in detail.
| | 01:06 | This audio editor lets
us see the audio two ways.
| | 01:10 | The top green-on-black view is called
the Waveform view, where we see amplitude
| | 01:15 | on the Y axis over time on the X axis.
| | 01:18 | We're pretty used to this type of view.
| | 01:20 | But the other view, the bottom half
of this window, we see a more colorful
| | 01:24 | display, and this is called
the Spectral Frequency Display.
| | 01:28 | It shows audio frequencies on the Y
axis and time on the X axis, and volume
| | 01:34 | is described by color.
| | 01:35 | This is a really unique way
to look at audio in Audition.
| | 01:39 | Now, we can see there's a bunch of stuff
going on in the lower frequencies.
| | 01:44 | That is our hum down there but it's hard to discern.
| | 01:46 | We need to increase the resolution a little bit.
| | 01:49 | We can use Command+Shift+Up Arrow for
Mac, Ctrl+Shift+Up Arrow for Windows to
| | 01:55 | increase the spectral resolution.
| | 01:57 | Now, as I do this, it starts to come
into focus, and we start to see a straight
| | 02:01 | line running through the clip at about
120. That's 120 Hz and that's our hum.
| | 02:07 | You might also notice there are some
other lesser-volume lines at different
| | 02:11 | frequencies. That's important too.
| | 02:13 | Now, let's return back to the Multitrack Editor.
| | 02:15 | Click the Multitrack button to get back.
| | 02:18 | Now, with this clip still selected,
we'll go to the Effects Rack tab on the upper-
| | 02:22 | left, click on Clip Effects, and
let's turn the power on for effect one.
| | 02:27 | Next, go into the arrow menu on the
right and choose Noise Reduction > DeHummer.
| | 02:32 | Now in the pulldown Preset menu of this
plugin, choose 120 Hz Notch. Okay, great.
| | 02:39 | Now let's listen, and I'll be turning
on and off the plugin to hear with
| | 02:42 | and without the effect.
| | 02:43 | (audio playing)
| | 03:02 | This really seems to be working and
taking care of the hum, but one thing
| | 03:05 | to know about hums that they often repeat
themselves at harmonics of the main frequency.
| | 03:10 | Let's try a different preset.
Let's try to remove 60 Hz and harmonics.
| | 03:15 | Now, let's listen to this.
| | 03:18 | (audio playing)
| | 03:23 | This sounds even better.
| | 03:25 | So there were indeed
harmonics above and below 120 Hz.
| | 03:29 | Now, let's close this plugin window
and look at the clip in the timeline.
| | 03:33 | You'll see it has a little fx
icon in the bottom-left of the clip.
| | 03:38 | This tells us that there is a
real-time clip effect being used on this clip.
| | 03:42 | So, that's how you can get rid of hum.
| | 03:44 | To complete our project, we'd want to
apply this kind of technique to all the
| | 03:47 | clips in the timeline that
have this type of hum problem.
| | Collapse this transcript |
| Fixing broadband noise problems| 00:00 | Broadband noise such as wind on the
beach is much more difficult to remove from
| | 00:05 | dialogue tracks than hum.
| | 00:07 | That's because unlike a hum, the
offending sound is scattered all over the
| | 00:12 | frequency spectrum, not
just centered in one place.
| | 00:15 | In this movie, we'll explore how to use
the Noise Reduction Processing tool from
| | 00:19 | Audition to help make the dialogue
on the beach scene a little clearer.
| | 00:23 | The beach scene at the end
of the film is really noisy.
| | 00:26 | It's a ripe candidate for dialogue
replacement, which was actually recorded.
| | 00:30 | We have it muted on ADR Track 4 below.
| | 00:34 | And even though we may end up using the
dialogue replacement, we'll still need
| | 00:37 | to hear the original dialogue as
cleanly as possible to sync it up.
| | 00:41 | Audition ships with a Broadband Noise
Reducer tool for situations like this.
| | 00:45 | We'll use it here on this
clip we have highlighted.
| | 00:48 | Let's double-click the clip to see it
in the Waveform Editor, and now let's
| | 00:52 | take a listen to it.
| | 00:53 | (Mr. Dalton: So, you got a design for me?
Joseph: Yeah, I think I do.)
| | 01:03 | (Mr. Dalton: Good.)
| | 01:05 | As you can you can hear, it's pretty
noisy, so let's open the Noise Reduction
| | 01:08 | plugin from the Effects pulldown menu.
| | 01:10 | It will be in Effects > Noise
Reduction > Noise Reduction (process).
| | 01:16 | Plugins from the Effects pulldown
menu are examples of plugins that are not
| | 01:20 | real time and they have to be processed to work.
| | 01:23 | The way DeNoising software works is
that you must first isolate a piece of
| | 01:29 | the clip with only the noise and no
dialogue, to make the plugin learn the noise print.
| | 01:34 | Let's select this section over here
where there's no dialogue taking place.
| | 01:38 | (audio playing)
| | 01:44 | Now, click Capture Noise Print, and you can
see it updated the plugin with a noise print.
| | 01:49 | So now that we've stored the noise
print, or noise profile, we'll select the
| | 01:53 | entire clip we want to noise reduce.
| | 01:55 | Now, just with the basic
settings here, we'll take a listen.
| | 01:57 | (Mr. Dalton: So, you got a design for me?
Joseph: Yeah, I think I do.)
| | 02:08 | (Mr. Dalton: Good.)
| | 02:09 | So, as you can hear, the noise is gone, but
there's a lot of artifact on the dialogue.
| | 02:15 | This is always a trade-off with noise-
reduction software: If you push them too
| | 02:19 | far, the stuff you want to keep can
start to sound weird and almost like
| | 02:23 | under water or something.
| | 02:24 | So, let's back off the Noise Reduction slider
and the Reduce by slider as we listen again.
| | 02:29 | It's all just finding a balance
here to make it sound the best you can.
| | 02:33 | (Mr. Dalton: So, you got a design for me?
Joseph: Yeah, I think I do.)
| | 02:43 | (Mr. Dalton: Good. So, you got a--)
| | 02:46 | So once you get it to sound as good as
you can, we'll go ahead and hit Apply
| | 02:53 | to render the effect.
| | 02:54 | So, that's a simple demo on how
to use noise reduction in Audition.
| | 02:58 | You can use this on any scene with
broadband noise reduction like we're
| | 03:01 | experiencing in the beach scene.
| | 03:03 | Remember, the key is to get a good
sample noise print to work from and then
| | 03:06 | manipulate the sliders that it
gets the best you can get it.
| | 03:09 | We'll repeat this process in all the
clips for the beach scene and at the very
| | 03:13 | least, we'll be able to hear the
original dialogue well enough to edit the ADR to it.
| | Collapse this transcript |
|
|
3. Working with SFX and MusicSynchronizing SFX| 00:00 | Now that we have all the dialogue and
synched soundtracks edited, it's time to
| | 00:04 | start thinking about how we can add some
sound effects to enhance the action in our film.
| | 00:08 | In this movie, we'll look at importing
sound effects and syncing them to picture.
| | 00:12 | In this scene, the young architect
character receives a text message from the boss man.
| | 00:17 | You can hear a tiny vibrate
sound in the production dialogue track.
| | 00:20 | Let's take a listen.
| | 00:21 | (audio playing)
| | 00:32 | Now, this is a significant event in the film.
| | 00:34 | We want to use sound to
enhance the gravity of this event.
| | 00:38 | We'll import a sound effect that will
enhance, or sweeten, the cell phone sound.
| | 00:42 | Sweeten is the technical term
for this kind of enhancement of a
| | 00:45 | lackluster production sound.
| | 00:46 | So where do we get the sound effects?
| | 00:49 | Adobe actually offers a library of sound
effects royalty-free for use for any My
| | 00:54 | Adobe.com account member.
| | 00:56 | You can get there by going to Help >
Download Sound Effects, and that will take you
| | 01:01 | to Content Download page.
| | 01:03 | I downloaded the Technology ZIP file
and found this cell phone Vibrate On
| | 01:07 | Wood sound in there.
| | 01:09 | So now we want to import this
sound effect to our session.
| | 01:12 | If you go to File > Import > File, and we
have to find it in the Sound Effects folder,
| | 01:17 | which is where I put it,
| | 01:19 | we'll click Open and now if you look in
our Files browser on the left, we'll see
| | 01:23 | it in there at the bottom.
| | 01:25 | Next, we have to find the sync
point to sync it up to in the timeline.
| | 01:28 | We can use a marker to establish the
place that sound effect need to go.
| | 01:32 | Let's find the exact place the vibration
starts in the timeline with the cursor.
| | 01:36 | It looks like it starts right about here.
| | 01:41 | Now, we'll type the M key to make a marker.
| | 01:44 | You can see we get a
white marker in the timeline.
| | 01:47 | We can even right-click
on this marker to name it.
| | 01:49 | Let's name it cellphone sound.
| | 01:52 | Next, we want to ensure that
snapping to marker is turned on.
| | 01:56 | So go to Edit > Snapping and make sure
Snap to Markers is checked and that
| | 02:01 | snapping is enabled in general.
| | 02:03 | Now, we can simply drag the sound from
the file browser into the Hard Effects
| | 02:07 | track, which is where we want put it, and
it'll snap to that marker we made.
| | 02:11 | Okay. Cool! Let's take a listen.
(audio playing)
| | 02:18 | As you can hear, it's a little long,
| | 02:20 | so let's use the Trimmer to cut it
shorter, and also we can do a small fade-in
| | 02:24 | and fade-out on the edges of the clip.
| | 02:29 | Another thing you'll notice
is that this is a stereo clip.
| | 02:31 | It contains a left and right component.
| | 02:34 | It's good to know that for any track
we can always use this little icon in the
| | 02:37 | track header to sum the track to mono,
which might be more appropriate for this
| | 02:42 | clip, since it's really coming from a
single point in the room and we're also
| | 02:45 | close to that point as an audience.
| | 02:47 | It will sound closer up and less
roomy if we convert it to mono.
| | 02:50 | Finally, let's lower the volume of this clip
to make it blend in the scene a little more.
| | 02:55 | You can hold Command for Mac and Ctrl
for Windows and click on the little yellow
| | 03:00 | clip volume line to lower it.
| | 03:02 | All right, now let's take a listen to this.
(audio playing)
| | 03:08 | This looks and sounds pretty good.
| | 03:09 | Knowing how to place sound effects like
this in sync is a crucial way to making a
| | 03:13 | great-sounding film mix, and
it can enhance your film a lot.
| | 03:17 | I included some other sound effects
for you to practice syncing with, in the
| | 03:20 | Sound Effects folder, such as when the
boss man character uses his iPhone to send
| | 03:24 | a text in an earlier scene.
| | 03:26 | You should go ahead and try them.
| | Collapse this transcript |
| Printing FX| 00:00 | Some sound effects for your
film need to be made from scratch.
| | 00:03 | Audition has an incredible arsenal
of sound-designing tools available.
| | 00:07 | In this movie, we're going to show an
example of how to use one of these tools
| | 00:10 | to make the speakerphone voice at the
beginning of the film actually sound like
| | 00:14 | it's coming from a speakerphone.
| | 00:16 | In the scene, the young architect
calls the boss man on the speakerphone.
| | 00:19 | The voice of the boss man
has been recorded as ADR.
| | 00:23 | It's on the Character ADR Track 2,
but it doesn't sound like a phone.
| | 00:27 | Let's take a listen.
| | 00:28 | (phone ringing)
(Mr. Dalton: Yes?)
| | 00:34 | (Joseph: Hey, yeah, I'm here with Patton, and he's
telling me that, um, you want him here every)
| | 00:41 | (Joseph: hour on the hour, checking in on me?
Mr. Dalton: Patton, you there?)
| | 00:45 | (Patton: Yes, Mr. Dalton, I'm here,
and I never said on the hour.)
| | 00:50 | (I just told him that I decide
before or after the hour.)
| | 00:53 | (Mr. Dalton: No matter, just continue to do as I requested.)
| | 00:56 | (Oh, and Patton, did you let Joseph
know about the other details?)
| | 01:01 | (Joseph: What other details?)
| | 01:04 | Okay. So it just kind of has a
full-range sound, not like a speakerphone.
| | 01:08 | So I'm going to show you how to
make it sound more like a speakerphone.
| | 01:10 | Since the ADR 2 Track that Mr. Dalton's voice is
on has only these lines on it and nothing else,
| | 01:16 | we can do real-time plug-in processing on the
whole track to accomplish our phone voice sound.
| | 01:21 | So, let's switch over to the Effects
Rack up in the upper-left here. You'll notice
| | 01:26 | there are some effects that are
currently disabled. That's okay.
| | 01:29 | We'll choose the next slot down
and call up the Parametric EQ.
| | 01:33 | We can find it in the Filter and EQ Submenu.
| | 01:36 | The Parametric EQ is a tonal shaping
tool and you can use it for many uses, but
| | 01:41 | we'll use it here for kind of a dramatic effect.
| | 01:44 | Now a telephone speaker generally
has a really narrow frequency range,
| | 01:48 | so we can use the HP, which stands
for high-pass filter, to cut out the low
| | 01:54 | frequencies and to enable it
and drag it in to around 700Hz.
| | 02:00 | We'll also use the LP, or Low-Pass,
filter to cut out the high frequencies.
| | 02:07 | We'll enable that, and we'll
drag it down to around 2000Hz.
| | 02:11 | Now, we've effectively narrowed the
frequency range of the voice so it mimics
| | 02:15 | what a speakerphone would do.
| | 02:17 | Let's take a listen to how that sounds.
| | 02:19 | (character dialogue)
| | 02:36 | Great! That sounds pretty good.
| | 02:37 | So from here, we can save this preset
so we can use it anytime, by clicking the
| | 02:42 | Save Preset icon on the top of the plugin.
| | 02:44 | We'll name it speakerphone and then
you'll see it shows up in the presets
| | 02:48 | for the Parametric EQ.
| | 02:50 | Real-time plugin processing like this
is a great way to achieve sound design
| | 02:54 | effects in your film mix.
| | 02:56 | You can really have a lot of fun with this.
(character dialogue)
| | Collapse this transcript |
| Working with music tracks| 00:00 | We've now gotten to the point in our
editing where this movie needs some music,
| | 00:04 | especially the first
daydream sequence on the beach.
| | 00:07 | In this movie, we'll work through
adding a music track and syncing it up to a
| | 00:10 | specific location in the timeline.
| | 00:12 | In the media browser here on the
left, we can see two music files.
| | 00:17 | Let's choose the one called The Trouble With.
| | 00:19 | This is the music we'll
use for the daydream scene.
| | 00:22 | Let's right-click on this
file and choose Open File.
| | 00:26 | Audition automatically
opens it in the Waveform Editor.
| | 00:29 | I want to play a specific transition
point in this music file that would be a
| | 00:33 | good spot to sync up to something visual.
| | 00:35 | Let's take a listen.
| | 00:36 | (music playing)
| | 00:47 | Okay. You heard right about at
this point where the drums come in,
| | 00:51 | that's a great point to sync up to something.
| | 00:53 | So let's drop a subclip marker here.
| | 00:56 | You can do a subclip marker by going to
Edit > Marker > Add Subclip Marker. Great!
| | 01:03 | Now, we can save this clip.
| | 01:04 | Now let's go back to Multitrack
view by clicking the Multitrack button.
| | 01:10 | We'll open up our Music 1 track a
little wider, because that's where we're going
| | 01:14 | to put the music eventually.
| | 01:16 | Next, we'll go into the
Files tab in the browser.
| | 01:19 | You should see The Trouble
With audio file in there.
| | 01:22 | Now, we'll find a point to sync that moment
we found in the music up to in the timeline.
| | 01:27 | The first dream sequence goes
from color to black and white.
| | 01:31 | That would be a good transition point.
| | 01:34 | This happens around timecode
01:04:25:14. Let's find that.
| | 01:40 | Okay, right about here.
| | 01:41 | Now we'll type M to drop a
marker there in the timeline.
| | 01:45 | This makes a white marker. Okay.
| | 01:48 | Cool! Now, let's drag and drop the music file
into this Music 1 track. Anywhere is fine.
| | 01:54 | You should be able to see a
little dotted line in the clip itself.
| | 01:58 | That was our subclip
marker that we made previously.
| | 02:01 | So now to sync this up, all we need to do is
line it up with the white marker we just made.
| | 02:06 | So there we go. It's not lined up.
| | 02:08 | Let's take a listen to how it
looks and sounds in the timeline.
| | 02:11 | (music playing)
| | 02:20 | This works perfectly.
| | 02:21 | We'll now continue through and
play some other music in the film,
| | 02:24 | but this demonstration shows an easy
way to sync not only music, but any clip, to
| | 02:29 | a specific location within that clip.
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| Using background ambience| 00:00 | One of the things we can do to
enhance our film is to create a sonic
| | 00:04 | world around the action.
| | 00:06 | One way to achieve this is to use
background ambient tracks in all scenes to
| | 00:10 | create a sense of space and a real
world that the characters work in.
| | 00:15 | The best way to set up for laying in
ambience tracks is to mark each scene's
| | 00:19 | beginning and end with a
marker accurate to the frame.
| | 00:23 | That way we can easily lay in stereo
ambient sound effects tracks and make them
| | 00:27 | line up perfectly with each scene.
| | 00:29 | As you can see here, I have one
marker indicating the start of the film.
| | 00:33 | I named it Office to let us
know the location of the scene.
| | 00:37 | This type of marker works well to
tell us a starting point, but you can also
| | 00:41 | convert the marker type to be a range
in Audition rather than a single point.
| | 00:46 | If we right-click on the marker,
we can choose Convert to Range.
| | 00:51 | Now, we can pull out the range of
the marker to the end of the scene.
| | 00:55 | The end of the scene's around
01:01:36:0 frames. Let's find it.
| | 01:04 | I want to get close to it.
| | 01:05 | We want to zoom way in
to make it frame-accurate.
| | 01:08 | Once you zoom in close enough, you can
use the right and left arrows on your
| | 01:13 | keyboard to move one frame at a time. Okay.
| | 01:16 | So here we found the scene boundary.
| | 01:18 | Now we'll zoom out and we'll extend the
marker range for this first marker to that point.
| | 01:23 | Now, we'd want to go through the
whole film and put one of these markers on
| | 01:26 | every scene boundary, because it will
help us enormously when we lay in all the
| | 01:30 | background ambiences for each scene.
| | 01:32 | As you can see towards the end of the
timeline, I've already placed a range
| | 01:36 | marker to indicate where the
last scene, the beach scene, is.
| | 01:39 | I want to drag and drop a few background
sound effects tracks I have in my Files
| | 01:44 | browser to this beach scene.
| | 01:46 | As I drop them in, you can see these
files were a different sample rate.
| | 01:50 | Audition will ask us to convert
the files, so we'll say Yes.
| | 01:54 | Now, once they're in place, we'll trim this to
fit the range we've made with the range marker.
| | 02:00 | See how easy it is when you
have a range already established?
| | 02:03 | Now that we've got this in place,
we decided to use the ADR lines here instead
| | 02:08 | of the production lines.
| | 02:09 | We thought those were too noisy.
| | 02:11 | So, let's select all of the ADR clips in
the ADR track, and we'll choose Clip and
| | 02:15 | deselect Mute. Then we'll go up to the
original Dialog tracks where these clips
| | 02:20 | are and we'll select that.
| | 02:22 | We'll choose Clip and we'll mute those.
| | 02:25 | Now we have the background sound
effects we've added plus the ADR.
| | 02:29 | I'm going to just lower the clip
volume for these background tracks, and I'll
| | 02:33 | do a little fade-in and fade-out on
them, and then we'll take a listen and see
| | 02:38 | how it works with the ADR.
| | 02:39 | (video playing)
| | 02:43 | (Joseph: Hey Dad.
Mr. Dalton: Hey kiddo.)
| | 02:49 | (Mr. Dalton: So, you got a design for me?
(Joseph: Yeah, I think so.)
| | 03:00 | (music playing)
| | 03:03 | Okay. Great! That works pretty well.
| | 03:05 | Now, in the case of ambiences, it's best
to work in layers like we've done here.
| | 03:09 | If you layer a bunch of ambiences in a
scene like this, it tends to sound more
| | 03:13 | realistic than just one sound effect.
| | 03:15 | Now, to really complete this film, we
would want to fill in each scene with some
| | 03:19 | kind of background ambience.
| | 03:21 | This kind of treatment will make
your film sound much more realistic
| | 03:24 | and cinematic.
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|
|
4. Mixing to PictureAutomating volume| 00:00 | At this point, this film
has really come a long way.
| | 00:03 | We've pretty much fleshed out all the
backgrounds, effects, music, and dialogue tracks.
| | 00:08 | Now it's time to start thinking about
how we're going to mix each individual
| | 00:11 | track together to make it
sound as good as possible.
| | 00:14 | When we mix our film, it's good to be
aware of another view of tracks we haven't
| | 00:18 | seen yet: the Track Envelope view.
| | 00:21 | You can open the track envelopes
by clicking on the little disclosure
| | 00:25 | triangle next to word Read.
| | 00:27 | As you can see, you can choose which
envelopes to show under the Show Envelopes
| | 00:31 | pulldown menu, and Volume is already selected.
| | 00:34 | This is our Volume envelope, this
line that we see across the track.
| | 00:38 | If we click on the track Volume Envelope
line, we'll create what's called a keyframe.
| | 00:43 | We can click to add another keyframe.
| | 00:45 | Once we have a couple of keyframes in
there, we can use the next or previous
| | 00:49 | keyframe icons to move the
cursor between the keyframes.
| | 00:53 | We can also click the middle
icon to make a new keyframe.
| | 00:57 | We can even erase our keyframes
with the Eraser tool over here.
| | 01:03 | As long as there are keyframes
present in the track and the track is set to
| | 01:08 | read automation mode on the track controls,
the track's volume will follow these keyframes.
| | 01:13 | So when you're ready to mix each track
of your film and all the tracks together,
| | 01:18 | you can click to create keyframes and
you can pull the volume line up or down
| | 01:22 | and change the volume of all the
individual tracks in relation to one another.
| | 01:27 | One thing I want to go over in this
movie is the difference between track volume,
| | 01:31 | which is what we're looking at here, and
the clip volume, something we've already
| | 01:34 | used in this course.
| | 01:36 | In Audition, as we've seen, each clip
can have its own internal volume or gain,
| | 01:40 | as well as the track volume.
| | 01:42 | But as I'll show you,
track volume and clip volume can also be used
| | 01:45 | together simultaneously.
| | 01:47 | In this scene I have added a clock sound effect.
| | 01:50 | Let's take a listen.
| | 01:51 | (music playing)
(clock ticking)
| | 02:02 | Obviously, this clock
sound effect is much too loud.
| | 02:04 | So let's use Clip Gain to pull
down the volume of the sound effect.
| | 02:08 | Holding Command for the Mac or Ctrl for
Windows, let's pull it down to about -40.
| | 02:12 | Good. Now in our Volume Envelope, I want to
automate the volume to subtly rise when
| | 02:19 | he looks at the clock, right around
where the first marker is. Then we'll make it
| | 02:23 | go back to where it was when
the second marker is. Cool.
| | 02:26 | Now let's take a listen.
| | 02:28 | (music playing)
(clock ticking)
| | 02:37 | That works pretty well.
| | 02:38 | So that's an example of how you can
use Clip Gain and the Track Volume
| | 02:42 | together in your final mix.
| | 02:43 | You should definitely utilize this as
you go through and mix your scenes with
| | 02:46 | the Volume Envelope.
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| Using EQ to enhance your mix| 00:00 | As you're mixing your movie, you'll
inevitably come across situations where
| | 00:04 | just adjusting the volume isn't enough to make
the sound sit right in the film or the scene.
| | 00:09 | In this movie, we'll explore using
equalizers as tonal shaping tools to make
| | 00:13 | the sounds work better.
| | 00:15 | We'll begin by showing how equalizers
can be used to get rid of any unwanted
| | 00:18 | stuff that might be clouding up our mix.
| | 00:21 | In terms of dialogue tracks, there's a
lot of information that might be on our
| | 00:25 | tracks that are very low
in the frequency spectrum.
| | 00:27 | I'm talking about low rumbles, low
sound from wind, and even hiss that exists
| | 00:32 | well below and above the
usable frequencies of the voice.
| | 00:36 | We can effectively put a global EQ on our
Master Dialog Stem track to deal with all of this.
| | 00:42 | In fact, we already have this.
| | 00:45 | Let's take a look at the mixer window.
| | 00:47 | Here, if we open up our track EQ area,
we can see that some of the Master tracks
| | 00:52 | already have an EQ on them.
| | 00:55 | We'll click this Pencil tool icon to
see the Dialog Stem Master Track EQ and as
| | 01:01 | you can see, we have a high-pass filter here
| | 01:04 | that's getting rid of any low rumbles,
plus a gentle high shelf to make the dialogue
| | 01:08 | a little more intelligible.
| | 01:10 | Now this EQ on the Master Stem is part
of the template that we actually began
| | 01:13 | this session with, and this global EQ is
good for all the dialog in the film.
| | 01:18 | It's a good start to filter
out any unnecessary sound.
| | 01:21 | But as you keep going, you'll notice
some tracks need even more EQ love to
| | 01:24 | sit right in the scene.
| | 01:26 | Let's switch back to the Multitrack view.
| | 01:29 | Take for example, the voicever track
that was added as a dialogue replacement on
| | 01:33 | Character ADR 3 track
during the beach dream sequence.
| | 01:37 | Let's listen to it.
| | 01:38 | (character dialogue)
| | 02:03 | Now the way it was recorded, it
sounds much too close and present to be a
| | 02:06 | voice on the beach.
| | 02:08 | So we'll use a Parametric EQ to
tonally shape the sound so it matches the
| | 02:12 | scene a little better.
| | 02:14 | Let's go to the Effects Rack and track effects.
| | 02:16 | We'll turn one of these effects on.
| | 02:18 | We'll then choose Filter
and EQ > Parametric Equalizer.
| | 02:23 | Now, let's solo the track.
| | 02:24 | Here we need to make his voice a
little less boomy and also a little less
| | 02:28 | present in the high frequencies.
| | 02:30 | The boomy stuff is on the low frequencies.
| | 02:33 | In the parameter called L, which
stands for low-frequency shelf, we can move
| | 02:37 | the frequency up to around 300Hz. Then we
can reduce the Gain down to about -8 decibels.
| | 02:44 | We'll then do the same on the H band:
adjust the Frequency to about 7500Hz and
| | 02:51 | lower the Gain to -6.
| | 02:52 | We're essentially taking out some of
the low frequencies and some of the high
| | 02:57 | frequencies, just to make it
sound a little less close.
| | 03:00 | Finally, let's turn up the track envelope
volume to compensate for any lost volume.
| | 03:06 | Now let's unsolo the track and
we'll take a listen against the scene.
| | 03:11 | During playback, I'll push the power button
so we can hear with and without the effect.
| | 03:15 | (character dialogue)
| | 03:41 | There we go.
| | 03:45 | Now his voice sounds a little more
glued to the scene. Going forward in your
| | 03:49 | mix, you want to use these types of EQ
treatments wherever any element isn't
| | 03:53 | sitting right in the mix and just
pure volume isn't doing the trick.
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| Automating plugins| 00:00 | Sometimes when you use plugins for
your film mix, you want them to change
| | 00:04 | parameters in real time.
| | 00:06 | This attribute could be very
useful as a sound design tool.
| | 00:10 | In this movie, I'll show you how to
use plugin automation to change a reverb
| | 00:14 | plugin in real time.
| | 00:15 | Here in this scene we have a ticking
clock to close out the dream sequence.
| | 00:20 | Let's listen to it.
| | 00:21 | (video playing)
(clock ticking)
| | 00:28 | (Male speaker: Here are the copies of
the Bell contract you asked for.)
| | 00:31 | And this clock sound effect is cool,
but wouldn't it be cooler if we can make
| | 00:35 | it really sound like it's in the character's
head and then fades to normal as the scene progresses?
| | 00:40 | If we could only make it have reverb that
gradually decreases until we see the clock.
| | 00:46 | Actually, using plugin
automation, we can do this sort of thing.
| | 00:50 | Let's insert a real-time plugin on the clip.
| | 00:53 | Go to the Effects Rack, choose Track
Effects, and activate the first slot, and
| | 00:58 | let's choose Reverb > Convolution Reverb.
| | 01:02 | Now, in the Reverb plugin,
select the preset Medium Sized Cave.
| | 01:07 | Okay, let's listen to
the clock with this effect.
| | 01:09 | (video playing)
(clock ticking)
| | 01:16 | That's a nice-sounding reverb; it
really sound like it's in his head.
| | 01:19 | Now, we'll automate the mix parameter to
start like this and get gradually drier
| | 01:24 | till there's no reverb at
all as the clip progresses.
| | 01:28 | To do this, we need to show the
envelope for the mix control. Go to Show
| | 01:32 | Envelopes > Convolution Reverb > Mix.
| | 01:36 | Now we can use keyframes to make the
mix go from 100%, which is at the top of
| | 01:41 | the track, to 0, which is at the bottom
of the track, over the course of the clip.
| | 01:45 | Finally, we don't want this reverb to
be working on other clips in this track,
| | 01:49 | so let's go to the Rack Power envelope
and make sure it's only in the up or on
| | 01:54 | position during this clip.
| | 01:59 | So, that way we're automating the rack to
turn on only during this clip. Okay, great.
| | 02:05 | Now, let's listen to our final effect.
| | 02:07 | (video playing)
(clock ticking)
| | 02:15 | (Male speaker: Here are the copies of
the Bell contract you asked for.)
| | 02:18 | Plugin automation like this is a
really useful tool when you're finessing your
| | 02:22 | mix, and it's these kinds of touches
that really make your film mix stand out.
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| Printing final stems| 00:00 | Once you have your mix finalized, it's
time to do what we call the print master
| | 00:04 | or the rerecording session.
| | 00:06 | This is where you make flattened
versions of all your stems, both as a fully
| | 00:10 | mixed stereo track and as individual
effects, ADR, dialogue, foley, and music stems.
| | 00:18 | Those split-out stems can be useful
later if you need to make a minor change, a
| | 00:23 | foreign language version,
change the music, et cetera.
| | 00:27 | That way you don't have to go back to the
complete session to do those changes.
| | 00:31 | In this movie, we'll work through the final
steps to export these final mixes and stems.
| | 00:35 | Remember, because we started with
Audition's Film Mix template, we're already
| | 00:39 | routing our stem tracks to their
respective master stem output tracks.
| | 00:43 | The first order of business is to make
sure that when we export back to Premiere,
| | 00:47 | or wherever our destination is, that
our movie stays in sync. Remember our two-
| | 00:51 | pop, the one-frame beep at
timecode 00:59:58.00 frames?
| | 00:58 | I put it here on its own track called Tones.
| | 01:01 | We need to make sure it makes its way
onto all of our final stereo and stem mixes.
| | 01:07 | So, let's switch over to the Mixer
view, and we'll scroll down to the end to
| | 01:11 | find the Tones track.
| | 01:12 | As you can see, its main output is going
to the Master Output. That's good; it'll
| | 01:17 | be sent to her stereo final mix output.
But we'll also want to use sends to send
| | 01:22 | it to the dialog, ADR, effects,
foley, and music stems as well.
| | 01:27 | We need to close some of
the views here to see the send.
| | 01:31 | Okay, now where it says S1, that's our Send 1.
| | 01:34 | We can turn it on and
sends its output to Dialog.
| | 01:39 | That's our Dialog master stem output.
Then if you Option+Click on the send
| | 01:43 | Volume knob for Mac or Alt+Click for
Windows, you can automatically turn the
| | 01:47 | send volume up to 0, which is
where we want it, unity gain.
| | 01:51 | Then we'll click the down arrow to
scroll to Send 2. This one we'll use to send
| | 01:56 | to the character ADR track.
| | 01:58 | Let's do the same with the Volume knob,
and then we'll do the same for Send 3,
| | 02:04 | only this one will go to the Effects
track. Send 4 will be sent to the
| | 02:10 | Music track and finally, Send
5 will go to the Foley output.
| | 02:15 | All right, great, now we're ready to
export our final mix and all of our stems.
| | 02:20 | We'll go to File > Export > Multitrack
Mixdown, and we'll do the entire session.
| | 02:26 | Next we'll see a dialog box where we can
choose our Mixdown file settings and parameters.
| | 02:32 | We'll choose a location for the files.
| | 02:34 | I'll put a folder on the desktop
called Castles Final Mixes & Stems.
| | 02:38 | And then we could leave the
file format and file types as is.
| | 02:44 | We want the same as what
we have been working with.
| | 02:46 | Now, under Mixdown Options,
we'll choose what tracks to include.
| | 02:50 | We want the entire session, we want the
master output, and we'll embed original
| | 02:55 | link data. But we're also going to
go in here and add our own stems.
| | 02:59 | Scroll down to Bus, and we'll add
Dialog, ADR, Effects, Foley and Music.
| | 03:07 | Those are our master stem outputs.
| | 03:09 | Now click OK to export.
| | 03:11 | This might take a few minutes. When it's
done, you should have six files in your
| | 03:15 | Mixes & Stems folder,
| | 03:17 | the stereo mix from our master
output, and all of the split-out stems.
| | 03:21 | Congratulations, we've now
exported our final mix and stems.
| | 03:25 | Our audio work is done, and we're almost there.
| | 03:27 | In the next move we will learn how to
reimport the stereo mix back to Premiere
| | 03:31 | and finalize our short film.
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| Marrying the audio mix back to picture| 00:00 | Getting the final audio mix back into
Premiere to do our final output is very simple.
| | 00:05 | In this movie, I'll walk us through
the steps to reimport the finalized mix.
| | 00:09 | Now, if you're following along with
the lynda.com exercise files we provided
| | 00:13 | you, we didn't give you the Premiere
source files; we only gave you the Audition
| | 00:17 | sessions for this course.
| | 00:18 | So, I'm demonstrating here to show
you what the workflow would look like.
| | 00:22 | You're free to follow along with your own
Premiere sequence or even a blank sequence.
| | 00:26 | The steps would be the same for this exercise.
| | 00:28 | So, here's our original
Premiere sequence we started from.
| | 00:32 | The first thing we should do is
duplicate this Castle sequence.
| | 00:35 | If we right-click on the
sequence, we can choose Duplicate.
| | 00:39 | Now, we can double-click on the
sequence to enter it, and we'll rename it as
| | 00:43 | well: Castles Audio Mix.
| | 00:48 | Now in the timeline of the new sequence,
let's just select all of the audio in
| | 00:52 | the audio tracks and delete it.
| | 00:57 | We won't be able to fit all the audio
tracks in our selection, so we'll need to
| | 01:01 | scroll down and do it a couple
times to get all of the audio deleted.
| | 01:06 | Once we have all the audio deleted,
we'll go to File > Import and we'll import the
| | 01:10 | stereo mix we made in Audition.
| | 01:12 | Then we'll choose that stereo mix file
from the file bin and we'll drag it into
| | 01:18 | the beginning of the timeline.
| | 01:20 | Once we get it in there, you'll see
that some of the metadata, like markers we
| | 01:24 | made an Audition, come across
to this timeline in premiere.
| | 01:27 | Now, we want to zoom in to the beginning
and check the two-pop and make sure it
| | 01:32 | lines up with the one frame of color bars
from our video edit. Let's take a look.
| | 01:41 | Okay, as we can see,
it does line up perfectly.
| | 01:44 | Then we can we can scroll
around and spotcheck the movie.
| | 01:47 | We'll look for dialogue that looks in sync.
| | 01:49 | (character dialogue)
(video playing)
| | 02:03 | Okay, the sync looks good.
| | 02:04 | You'll notice that our audio is
longer than the movie timeline, but that's
| | 02:08 | because we left more music in the end
to account for the credit sequence which
| | 02:11 | we haven't placed yet.
| | 02:13 | So that completes the roundtrip
cycle from Premiere to Audition and back.
| | 02:18 | It's not so hard, but its well worth it,
because now we have a refined mix of our
| | 02:23 | short film to send out to the world.
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ConclusionNext steps| 00:00 | In this course, we've looked at how
to mix a short film in Adobe Audition.
| | 00:04 | I hope we've achieved our goal of
exploring possible approaches and techniques
| | 00:09 | for mixing audio for a project
rather than working to all the technical
| | 00:12 | possibilities of the Adobe Audition software.
| | 00:15 | If you're looking to expand and
increase your skill set in general working with
| | 00:19 | Adobe Audition, I encourage you to
watch a complete view of the software in the
| | 00:24 | lynda.com course titled Audition CS6
Essential Training, with Garrick Chow.
| | 00:30 | If you're more interested in working
professionally in audio, specifically for
| | 00:33 | postproduction, I encourage you to
watch my course entitled Audio for Film and
| | 00:37 | Video with Pro Tools.
| | 00:39 | Thanks so much for watching this course.
| | 00:41 | I'll see you next time.
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