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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Rich Harrington: Robbie, we're going to go ahead and build the click track now. Robbie Carman: Mm-hm. Rich Harrington: And we're taking the pre-recorded track from the artist. In this case a track from his CD. Robbie Carman: Mm-hm. Rich Harrington: And he's going to be lip-syncing to this in a variety of conditions. In a club. He's going to be using this in the field. And we want to make sure that the performance doesn't drift. If we just had him play the song several times. Robbie Carman: Mm-hm. Rich Harrington: From one take to the other, there could be some variation in performance. Robbie Carman: Yeah, I mean, people just naturally do this. Right, Rich? You know, you're strumming along and you're you know, 100 beats per minute. And next time you do it, you're at 90 beats per minute, and yeah, it's not going to really work when we're trying to use the studio recording in all of these different shooting situations where we're going to have the artist sort of, you know, kind of faking it if you will.
Strumming along and singing towards camera. So we want to create a click track, and creating a click track is something that's easy to do and definitely something you want to do before you go out into the field. But let me just go and show you real quick. Rich Harrington: Yeah. Robbie Carman: How it's done. Here on this timeline, I have the recording from Jason Massey, our artist. This is a song called Dust and Bone. And I just placed it on here, on this timeline here in Premiere Pro and if I go ahead and play it back. Yep, you can tell then that's the studio recording. Sounds great. Rich Harrington: Yep. Robbie Carman: But notice that it starts right at the beginning of the song. Like Rich Harrington: Yeah. Robbie Carman: Any song any song should. Rich Harrington: Yeah. Robbie Carman: Right? So, what I want to go ahead and do is introduce some beeps before that. Now, the way that I'm going to do this is, I'm going to add a series of five beeps, and I'm going to put each beep on a whole second.
So in other words, beep one would be right at the beginning, beep one at one second, two seconds. Rich Harrington: I've been practicing. Beep! Robbie Carman: There you go, perfect. And then what we're going to do is, we'll just do an extra second gap, so, after the last beeps, so we'll have beep, beep, beep, beep, and then we'll have sort of a two second gap just to give an extra breath. Right before the song begins. Rich Harrington: In industry terms, they call that the two pop. Robbie Carman: Right. And now, you can technically change the, you know, sort of the tone of the beep so it's higher or lower, indicating that two pop. But we'll just keep it simple and just do a regular beep. So down here in the timeline, I've already gone ahead and placed a marker.
I'm simply going to move the song down about seven seconds or so from the beginning of the, the timeline. Rich Harrington: Mm-hm. Robbie Carman: And that's where I'm actually going to have the audio begin. And then here in Premiere Pro, I'm just going to have something come down to my project panel and click on this New Item button. And I'm going to go ahead and add Bars and Tone. You might be thinking to yourself, bars and tone? Well, this is just where I'm getting the beep. I could use HD Bars and Tone, it doesn't matter. All I'm looking to get out of this is just the, the beep sound. So, I'll go ahead and load that up. Yeah, defaults to the same settings of my sequence which is fine. And I'm going to up Bars and Tone here, and I'm just going to come in to the middle, it doesn't matter where.
So, I've gone ahead and just marked this, I've actually marked it out a little bit longer than a single frame so it's three frames, just to give a slight bit of benefit of the doubt for the reaction time of the crew, right? And now simply going to take that audio and drag it down to the timeline here. And I'm going to position it right at the beginning of the sequence. Let me go ahead and zoom in there. And you can see, there's beep number one. Rich Harrington: Yep. Robbie Carman: And then all I'm going to do is go to one second, so I'll type in 01000100. There I am right at one second. Guess what I'm going to do again. Rich Harrington: Yep. Robbie Carman: Is that just add that beep.
Rich Harrington: And this time just type in plus 100. Robbie Carman: Plus 100. So now I'm at two seconds. And I'll just repeat this process a couple of times so we have that countdown working. Again, we'll do that again. Plus 100. Here I am at three seconds. And, couple more times, plus 100. Here we are at four, and one last time for five seconds. And as I mentioned before, Rich, we're going to have a two-second break before the actual song begins.
There we go. Now, if I back this up, And just take a listen to this. Rich Harrington: Yep. From the beginning. Go ahead. Robbie Carman: Yep. Here we go. So now all I have to do now that I've placed everything is I just need to export this as a single file. And again, you can add as many beeps as you want. Five's a good place to start. Otherwise, everybody will go, really, is the song going to start yet? So five is a good place to start, and here all I'm going to do here in Premiere Pro is simply come up to the File > Export and Media. And again depending on your NLU or your hard, where you're building this will vary, but I'll just choose Media.
And over here on my Export Settings I'm just going to actually choose to export this out as a wav form audio file, and the default, I'm fine with the default settings. Simply click here to name it and I can choose to, you know, name this. Let's see here, Dust and Bone. Male 1: Click Track, and simply just save it out. Rich Harrington: Yep, and we can save that out as a WAV. You may need to convert this after you've exported to something like an MP3 depending upon the playback that you're going to use, if I was going to sync this with like an IOS device, if I draw the wave in and I try to sync it, it would automatically convert it to an AC3 or an MP3 file.
Robbie Carman: Right. Rich Harrington: So that's fine, but the goal here is to get a nice high quality file that you can take for syncing. And once that's all done it's going to write that out. And store the file and you just take it in the field which is what we're going to do now. So, let's head out into the field and show you how you use the click track during the actual production process.
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