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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.
As you can see here, our film has been fully edited and mixed. Look at all that automation in there. If you take the time, you'll find a lot that's been done since the last exercise. Once you have your mix finalized, it's time to do what we call the PrintMaster or the re-recording session. This is where you combine all of your stems, both as a full stereo mix, and also split them up as individual stems to output. The stems could be useful later, if you need to make a change or a make a foreign language version, change the music, etcetera. In this movie, we'll work through the steps to make these final PrintMasters.
One of my favorite features of Logic Pro is that it supports off-line bouncing. What this means is if you're working on any piece of any length, like a short film, or especially a feature-length film. You don't need to wait in real time while the stems and final mix export. Before starting we must define a area and timeline to be bounced to disk. Zoom all the way out and place the end marker just after the film ends. Then hit return to move the play head to the beginning. Let's type Cmd+2 to look at the mixer. On the output channel, you might notice it has the word BNCE as a button, this stands for bounce, effectively mixing and bouncing all of our files as a single file to the hard drive.
Let's click the Bounce button. Now here we see the Bounce dialogue box. First of all, let's give it a name and location. We'll call this first bounce Castles_finalmix. And we'll place it a folder, Castles_FCP, from audio. This is going to be sent back to our Video Editor. Next, for a destination, we want PCM. That's full resolution, it stands for Pulse Code Modulation. But really we can just think of it as full resolution uncompressed audio. We'll choose offline to make it faster.
And let's turn off any normalize features. If we've done a good job mixing we shouldn't have any clipping, or any need to normalize anything. For file format we could choose either WAV, or AIFF. 16bit 48,000 sample rate. These are the standards for video. File type is good interleaved, and that way we'll have one stereo file when we're done. And we can also leave dithering unchecked. We're not moving up or down any sample rates or bit depth. That's the time you would, may want dithering, and we're not doing that here. Now, when you're ready, we'll click Bounce, to make the final mix.
Okay, good. We've got our final mix, but we're not quite done. We still want to export the stems as individual files. To do this, we'll mute the other auxiliary channels except for the one we are outputting. In other words, for the dialogue stem, we'll mute effects and music. We'll click Bounce, keep all the settings the same, and we'll name it Castles_dia stem. And we'll click Bounce. Now once that's done, we'll do the same to output the effects and music stem.
When you're done you'll have four mixes, the stereo mix and three stem mixes. Now these files are ready to be reimported to Final Cut Pro, or any other video editing program. Finally, if you want to bypass Final Cut Pro altogether, you can go to File > Export audio to movie and Logic Pro will integrate our sound into the Quicktime file we have imported into our Logic Pro session. So those are the final output steps from Logic Pro.
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