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At this stage of our project, we have taken the time to break out all the OMF regions into our template tracks. As you see here we've narrowed our session down to only the necessary regions, and they're all neatly organized in the timeline. They're checkerboarding back and forth in the dialog tracks between scenes. In this movie we'l explore some techniques that will help finasse these newly organized regions into coherent dialogue and sync tracks, that play seemlessly though the scenes of our film. The first thing we should do here, is get rid of the OMF tracks and regions we didn't use from the original OMF import. Now remember it's good to have some previously saved version of these tracks, in case we need to get back to them.
But for now, in the sake of trimming down our track size, we'll delete these from this project. Type Cmd + 2 to enter the mix window, and we'll drag a selection around all of the OMF tracks, and we'll type the delete key. And, you'll get a warning that these tracks are used in our range window. Click delete anyway, and move on. OK now, back at the arrange window, we see these tracks now have no output. Again, we can choose to leave them here, but we're going to delete them. One thing I do want to to grab before deleting is the two pop region.
Click on the last track, MUS4, and let's make a new track just specifically for tones. And we'll name it tones, and we'll drag one of the two pop regions, those little blips, right into that track. Now we can safely delete the OMF tracks. Select the first one and type delete. You'll get warnings about there being regions on the tracks, Keep typing delete and okay until they're all gone. Alright, now for some dialogue editing. This second full scene in the film starting at scene 30 in our markers list is a standard dialogue track layout, which means on the top track, dialogue six, I've edited just the boom microphone source.
Both actors are picked up by the boom, and by far the most natural sound, but you can hear a bit of the room in it. The two tracks below are the two lavalier tracks for each actor. The top one in dialogue 7 is the assistant character's laugh, and dialogue eight contains the young architect characters laugh. We'll eventually use these regions to fill in the sound of the actors against the boom track above, we'll use them only when they speak. The first order of business is to clean up the boom track's edit, and make sure it's seamless on its own without any skips or bumps. So let's solo the regions, and this time we'll solo the whole track, not individual regions, by clicking the S button in the track header. That way the whole track is so low not any individual regions. Now, let's make sure the editing mode called the Drag mode in Logic Pro up on the right here, is set to no over lap, this will make moving regions act in a way that's useful for the kind of editing we're about to do. Now there's some editing tools we'll go over here. The first tool is the trimmer tool, which becomes active at the bottom edge of regions if we're using the main pointer tool. You might have to zoom in a little to see this. Now at the top edge of regions, we get the trimmer slip tool, which rolls the edit between regions if they're touching.
Let's demonstrate the trimmer here on this clip where the assistant says, well 6 p.m. >> Well. >> Now this line is off camera. We decided to keep just the laugh, but lose the line, well. So we can use the Trimmer slip tool to remove it and drag in the preceding shot. >> Now let's take a listen. (SOUND) >> 6:00 p.m. >> Okay that worked just fine, but there is a little talking from the preceding scene.
Your first instinct might be just to cut that out, but remember our goal is to make it seamless here so there can be no dropouts. So we'll have to fill this in with actually some room tone from somewhere else in the scene. We can select an empty area, such as right before the clip where we were looking. To do this hit Escape to open our tools palette, this is a good way to get to see all of our tools and choose them. Now make sure the track is selected, and choose the Marquis Tool which is the plus button tool.
With a marquis tool, select an area of room tone, just room tone no talking, and type Cmd+C to Copy it to the clip board. Next, we can make a selection with the marquis tool just exaclty where we want to paste it, and this time, type Cmd+V. You may need to use the tremor tool after that just to finesse the edit a little bit. 6:00 p.m. (SOUND) Great, now let's take a listen. 6:00 p.m.
(SOUND) Okay, good, that fixed the edit. Next we want to make sure that every edit has at least a tiny crossfade. Again, to avoid any bumps in the road, so that it goes seamlessly from one cut to the next. There's a quick way to batch fade a group of regions. Let's select all the boom track regions, with the exception of the last region. We're going to create a crossfade between all these regions, so the last region has nothing to crossfade itself into, so we'll leave that one unselected.
Now, in the Inspector, on the left hand side over here, open the disclosure triangle where it says 24 selected, this is our object parameters box. And then you can go down to where it says fade, and click equal power cross fades and drag up to a value of one, that's one millisecond. You should see crossfades between every region now in white in the arrange window. These cross fades can be adjusted individually, either with the inspector or with the fades tool, if you hit Escape and you choose the fades tool. So now we'll continue to work through the boom mike in this scene and all scenes, checking each edit and making crossfades over each one. We'll also be Copying and Pasting room tone where necessary, to make it as clean as possible.
The end version of this exercise file shows the end result of all this work.
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