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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.
The best way to organize a logic procession for audio post-production, is to break up the sound elements into stems. Think of a tree with multiple branches, branching out further into stems. There's three main stems we'll designate. Dialogue, where all your synced sound captured on the shoot will live. The effect stem where any sound effects, fully or background sound will live. And the third is music. Where the music tracks will go. By routing the outputs of all of our tracks to these three categories, we'll be able to organize and mix our video project in a very efficient way. So let's designate these first 12 tracks as dialogue tracks. we'll name them DIA, short for dialogue, one through 12. Double-click the first track header and rename it DIA 1. Type Cmd+2, to get to the mix window.
Now here in the Mix window, drag a selection around all of the audio tracks to select them all. Double-click to highlight the name on the first track, then hit the Tab key, and watch while the names of the rest of the tracks will follow suit with incremental numbers. This is a great shortcut. Keep in mind that these tracks we made are mono tracks. They contain a single sound source, panned to the center. This is actually perfect for dialogue sources. Now make sure all the dialogue tracks are still selected. Then we click in the Output tab here, on anyone of the tracks and change it to Bus 1.
As you can see, all of the selected tracks' outputs are now assigned to Output to Bus 1. And Logic automatically made an auxiliary track with the input of bus 1. This auxiliary track, won't contain any audio regions in its timeline. But rather, it's mixing channel that all of our dialogue tracks will route through. We can use a pathway called a bus as we used bus one here, to route audio from our dialogue tracks to this auxiliary track. We'll name this auxilariy track DIA stem since it represents the output of all of our dialogue tracks. Now we're going to do the same with our effects tracks. Back in the arrange window, click to select the last dialogue track. Then use the plus button at the top to add four mono tracks, then again to make four stereo tracks.
Now let's go back to the Mix window. If you already have it open, you can use the Cmd and Tilde key, to toggle between any open windows. Now in the Mix window, we'll name them using the same method that we named the dialog tracks. With all tracks selected, name the effects one track, then hit Tab Again, with all the effects tracks still selected, set their outputs to Bus 2. And name the auto created aux track effect stem. Lastly, we'll do the same thing with music tracks. These are all going to be stereo, since music sources are almost always stereo, we'll make four stereo music tracks.
Back in the Mix window, we'll name them mus, short for music, one through four. And we'll route them the same way, using Bus 3. We'll name the corresponding aux track "musstem," short for music stem. Great. Now, we've set up all of our tracks and three corresponding auxiliary tracks, as our stem outputs. Once we're done, I like to color code the tracks so I can keep track. Select the dialogue tracks and go to View > Colors.
We'll make the dialogue tracks dark blue. Effects tracks will be colored pink. And music tracks will be yellow. Now we have a working template, already named and routed perfectly as a starting point for all our post-production projects. We can save this as a template and be able to call it up whenever we start a new logic project. Now I'll name this template short film template.
Now if I close this project and save it, and then I go to File > New, to open up a new project. You see the new project's template dialog box that we saw earlier only this time at the bottom, there is a folder called my templates and here's the short film template we just created. Now that we've gotten all the set up out of the way, we can enjoy the benefits of the template we made every time we work in an audio for video project.
Keep in mind, you can alter and enhance this template anytime you see fit and re-save it.
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