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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've gotten to the point in our editing here where this movie needs some music, especially the first daydream sequence. In this movie, we'll work through adding a music track and syncing it up to a specific location and timeline. Click on the Media Area button and you'll see some tabs for navigating to the media on your computer and its hard drives. Click on the Browser tab. The little Suitcase button is the Project Browser. Click here, and you'll see all of your Logic Project files and Associated Media in the Exercise folder. In here, you'll see a Music folder, double-click that to see it's contents. From here, we can audition any Sound file. Click on the Music file called The Trouble With, and click the Speaker icon or Space Bar to play the file.
Let's listen to it. (MUSIC) Good. That's the file we want. Let's add it to the MUS1 track by clicking add. Logic will spot the music to the play head in the selected track. But, we'd like to get a little more specific about how the music's placed. Go to Markers Alternative 4 in the Global Track to get a clean slate of markers. Here, I want to find a spot where the movie goes to black and white, indicating that the daydream has begun.
It's right around timecode 01:04:25 and zero frames. Open the Lists Inspector under the Marker tab, and click Options > Create without rounding to drop a marker there. You can name the marker Dream to indicate when the dream sequence begins. Now, let's open a window we haven't looked at yet in this course. Go to Window > Audio Bin. Here is a comprehensive view of all of the Audio files being used in your project, and regions that reference those files.
Scroll all the way down to find The Trouble With music file. Now, zoom in with the Zoomer tools to make it nice and big so you can see the waveform. Now, this little black marker is called an Anchor. Normally, you want the anchor at the beginning of a region. But this time, we'll move the anchor to a dramatic moment in the song, right where the drums come in. You can actually see in visually in the wave form where this happens. Now, flipping back to the arrange window, we can click Pick-up Clock to move the anchor point to the play head, and then our region snaps into sync.
That's an easy way to sync to a specific point of the timeline within a defined point of a region. Now that we've sunk this up the way we want it, let's listen to how it turned out. (MUSIC) We'll now continue through and play some other music in the film.
But this demonstration shows an easy way to sync not only music, but any region to a specific location within that region using the Audio Bin and the Anchor Point Method we've just seen.
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