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In this course, explore a powerful round-trip workflow between Logic Pro and Final Cut Pro that helps sound editors to quickly mix dialogue, sound effects, and music for film. Author Scott Hirsch frames the lessons in a way that appeals to filmmakers of all levels, as well as professional and amateur audio mixers. He starts with exporting your tracks from Final Cut Pro and taking advantage of the film and video templates in Logic Pro, which makes project setup a snap. Then discover how to consolidate and edit dialog, fix noise problems and background hum, and add special effects. Finally, explore how to use automation and EQ to enhance and match your final tracks to the picture.
We're continuing our dialog edit here for this scene in the office. They've gone through and made a clean boom track, and now we'll explore some techniques for the lavalier tracks, which we plan to blend into the boom track to make it a little more solid sounding. Lavalier mics are tricky the need to be brought in and out from the boom track unnoticed so fading in and out of them will eventually be a necessity. In addition, we need to talk about the negative effect blending two microphones can have on the sound. Because the sound is hitting the mics at slightly different times in space, the closest mic, in this case the lavalier mic, is receiving the sound slightly before the boom mic which is a little farther away.
Technical term for this is that the mics are slightly out of phase from one another. Let's solo track six to hear the architect's first line on the boom only. >> Is he sending you in here with scripted-up dialogue and everything? >> It sounds okay by itself. Now, let's listen to the same dialogue from the lav track only. Let's solo this and listen. >> Is he sending you in here with scripted out dialogue and everything? >> Okay it sounds different, but it sounds okay. Now let's listen to both tracks blended together.
>> Is he sending you in here with scripted out dialogue and everything? >> And this sounds kind of hollow, right? This is due to a phase issue between the microphones. The solution is to look closely at the wave forms, and line them up together better so they're more in phase. This is one of those tasks that you need an audio system like logic pro to accomplish since final cut doesn't get this fine of resolution. So let's go into the finest editing mode, up in the snap menu. Choose samples.
This will give us the finest resolution. Now, we'll pull the dialogue eight track right up next to dialogue six. This is the lavanliere right next to the boom track. Now, you want to zoom in, so you can see the peaks of the wave forms. And you can see here, they're a little off from one another. So with the pointer tool, slide the bottom region ever so slightly until its wave forms line up with the top region. Good. Now that we've lined these up, these regions should be in phase. Now let's zoom out and take a listen to our work.
>> Is he sending you in here with scripted out dialogue and everything. >> Now as you can hear it's much better sounding it's actually worth it to mix these two regions together whereas before it just sounded like hollow mess so any time you have to use two microphone sources. You have to be aware that there might be this kind of phase issue at play. Okay, now to finish up, we just need to fade in and out of these regions to make it seamless against the boon track. We'll use the fade tool to drag a small fade in and out of the region.
We'll continue using these methods to complete the lavalier mike edit for this scene.
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