IntroductionWelcome| 00:00 | Welcome to Soundtrack Pro 2 Essential Training.
| | 00:03 | My name is Larry Jordan, and I'm delighted to take you on this
tour of the new features and the operation of Soundtrack Pro 2.
| | 00:11 | The purpose of this title is to introduce you to the power
within the Soundtrack Pro 2 and to teach you what you need
| | 00:17 | to know to successfully start using the program.
| | 00:20 | However, my conscience does force me to say that
Soundtrack Pro is a very deep program, just like Final Cut.
| | 00:26 | So when it comes to audio, there's always something more to learn.
| | 00:30 | Here's what we're going to be covering. We're going to cover getting
started and new features, spent a lot of time learning the interface
| | 00:36 | and keyboard shortcuts and then we're going follow the process
from system set up through recording audio and repairing audio
| | 00:42 | and mixing audio and output.
| | 00:46 | There's a lot here to cover but before we start, I just want
to mention that if you're a premium member of lynda.com 's
| | 00:52 | Library or if you're watching this tutorial on the disk, you have
access to the exercise files which are used throughout this issue.
| | 00:59 | But if you're a monthly or annual subscriber to lynda,
then you don't have access to the exercise files,
| | 01:04 | but before you start to get depressed, you can
always follow along using your own assets.
| | 01:10 | Well, with that being said, let's get started.
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1. Getting StartedWhy use Soundtrack Pro? | 00:00 | Let's get ourselves started with Soundtrack Pro, and
we'll do that by taking a look at why we use Soundtrack Pro
| | 00:06 | in the first place, especially when we've
got a Final Cut Pro at our disposal.
| | 00:10 | Then we'll define some key audio
terms and will wrap up this section
| | 00:14 | with a quick look at the new features inside Soundtrack Pro 2.
| | 00:17 | But I guess the first question we should ask ourselves is,
I've already got Final Cut, why would I want to use Soundtrack?
| | 00:23 | Well, Soundtrack gives us more tools and
greater flexibility, greater accuracy
| | 00:29 | and greater power when we are working with our library.
| | 00:31 | We also have extensive music libraries inside Soundtrack,
which isn't saying much because Final Cut doesn't have any.
| | 00:39 | We also have vast sound effects libraries inside
Soundtrack Pro 2, which Final Cut doesn't have.
| | 00:44 | So just for the libraries alone Soundtrack is worth using.
| | 00:48 | But best of all for me is it is easy to
roundtrip files between Final Cut and Soundtrack.
| | 00:54 | This means that I can do all of my editing in Final
Cut, zip my audio over to Soundtrack and do my mixes.
| | 01:00 | Now in the past I used to mix everything inside Final Cut.
| | 01:03 | Now I do almost none of it there.
| | 01:05 | Soundtrack is just playing easier, faster and better, and
we'll be showing you that throughout this entire title.
| | 01:12 | But before we start to launch the interface and
get our hands dirty working with the software,
| | 01:17 | there are a few terms I would like
to define, and we'll do that next.
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| Audio terminology| 00:00 | Before we launch the application and get lost in the
interface there are six audio terms I'd like to define.
| | 00:05 | The first is Frequency. Frequency is measured in
cycles and this determines the pitch of a sound.
| | 00:12 | Where low frequencies are low pitched,
high frequencies are high pitched.
| | 00:16 | For instance a base guitar centers around the lower
frequencies where a piccolo centers around the high frequencies.
| | 00:23 | Unless it's a pure tone, every instrument has lots of different
frequencies associated with them, but they do tend to clump
| | 00:28 | in particular areas and we can take
advantage of that in our mixing process.
| | 00:32 | The next term came from computers, it's called Sample
Rate, and this is measured in samples per second
| | 00:38 | and it determines the frequency response,
the range form the lowest frequency
| | 00:42 | to the highest frequency to the particular
sample rate for support.
| | 00:46 | For those who love math, if you take
the sample rate and divide it by 2
| | 00:50 | that determines the maximum frequency
that that sample rate will support.
| | 00:55 | It's called the Nyquist Theorem.
| | 00:56 | Bit depth: Bit depth determines the dynamic range of a clip, the
distance between the softest and the loudest portion of a clip.
| | 01:03 | If there is no dynamic range, if it's all
the same loudness, that's like Metallica.
| | 01:09 | If it's an orchestra, then there's going to be a lot of dynamic range
between the solo flute playing and the entire orchestra playing.
| | 01:16 | Bit depth determines how great a dynamic range we
can have and I'll talk about more in just a second.
| | 01:21 | Levels is another term for the volume of a clip.
| | 01:24 | Cross-fades are dissolves between audio clips except
we don't call them dissolves; we call them Cross-fades.
| | 01:30 | And Envelopes are keyframe lines, that's where we
set keyframes, but they're not called keyframe lines.
| | 01:35 | That would be too easy, instead we call them
Envelopes, even though they don't get mailed anywhere.
| | 01:41 | Let's take a closer look at Sample Rate though.
| | 01:43 | We actually have lot of different sample rates to choose from.
| | 01:46 | Here's a table that illustrates four of the common ones.
| | 01:49 | 22,050 Hz.
| | 01:51 | Hz is the abbreviation for hertz and a hertz is
simply a cycle. 32,000 Hz, 44,100 Hz and 48,000 Hz.
| | 01:58 | Because the Nyquist Theorem says that if you take the
sample rate divided by 2, that means that a 22,050 Hz
| | 02:04 | which is often called 22 KHz, the lowest frequency is 20 cycles.
| | 02:09 | This is well below human speech and at
the bottom end of the human hearing.
| | 02:13 | The highest frequency is 11,025 and
it's a really good frequency for speech
| | 02:18 | because it easily contains the frequency range of human speech.
| | 02:21 | 32,000 Hz which is often abbreviated at 32 KHz is good for 20-16
thousand and many consumer-grade cameras record at this level
| | 02:32 | because the file sizes are smaller. Audio CD's use 44,100.
| | 02:37 | Again the bottom end of 20 cycles doesn't
change but the highest frequency is 22,050,
| | 02:42 | and this is the standard recording sample rate for audio CD's.
| | 02:46 | Most professional cameras and DVD video have a sample
rate of 48,000 Hz, which again is abbreviated at 48 kHz,
| | 02:54 | the lowest frequency is 20 and the highest frequency is 24,000,
| | 02:58 | and just to give you a comparison,
human hearing goes from 20 to 20,000.
| | 03:03 | Assuming that you are 18 -- for the rest of this training we are
going to assume everybody has perfect hearing, and we are all 18.
| | 03:10 | I like that idea.
| | 03:12 | Higher sample rates create bigger
files but they also have higher quality
| | 03:16 | because they more accurately represent all
the different frequencies that we listen to.
| | 03:20 | When in doubt, notice that little asterisk there.
| | 03:23 | Setting your sample rate to 48 kHz is always a good safe choice.
| | 03:28 | Just as we have sample rates that we
can select from, we also have bit depth,
| | 03:32 | and there are three bit depths that
Final Cut and Soundtrack support.
| | 03:36 | There is 8-bit, 16-bit and 24-bit.
| | 03:39 | Bit depth controls the dynamic range of your audio.
Here for instance, with 8-bit sound we have 256 steps
| | 03:47 | between absolute silence and absolute as loud as it can be.
| | 03:51 | This would express itself as a dynamic range of 0dB to -96dB,
| | 03:56 | and it's useful for the Internet, and
broadcast television tends to use this.
| | 04:00 | 16-bit sound gives us 65,000 steps.
| | 04:04 | It gives us a dynamic range of 0 to -124 and
it's used in audio CDs and all video recording.
| | 04:11 | 24-bit gives us audio levels well over 16
million, a dynamic range of about 143dB
| | 04:17 | and it's principally used in theatrical
releases but also DVD audio.
| | 04:21 | That is not the audio for a video DVD
but the specific format called DVD audio.
| | 04:27 | The smaller the bit-depth, the smaller the file, and when
in doubt set your audio files to 48 KHz and 16-bit depth,
| | 04:34 | that's always safe and it's always a really, really good quality.
| | 04:38 | Well, let's just take a second and digress.
| | 04:40 | You see this audio level thing.
| | 04:41 | It took me a long time to get my brain
wrapped around this, but think of it this way.
| | 04:45 | Think of yourselves building a house.
| | 04:47 | You pour the concrete for the first floor. That first
floor is not going to be move,. You frame the house
| | 04:52 | and you put the second floor and the
second floor is not going to move.
| | 04:55 | If I only have one step that takes me
from the first floor to second floor,
| | 05:00 | it gets really hard to move easily between those two floors.
| | 05:03 | If I add 12 steps between it gets easier to move.
| | 05:06 | If I add 20 steps in between that gets even easier to
move gradually, smoothly up from one floor to the next.
| | 05:11 | Now, the first floor position doesn't change
and the top floor position doesn't change.
| | 05:15 | All I am doing is I am altering the
steps between the first and second floor.
| | 05:20 | That's what the bit depth is doing.
| | 05:22 | It's not changing the location of dead silence and
it's not changing the location of as loud as it can be,
| | 05:28 | it's simply giving me a greater range of steps as
I move from total silence to as loud as it can be.
| | 05:35 | That's what the bit depth that is controlling.
| | 05:37 | Now, there is one more concept that I want to get across during
this definition and that's a difference between a waveform
| | 05:43 | and the spectrum, and Soundtrack supports both.
| | 05:45 | Final Cut, for instance, only works with waveforms.
| | 05:48 | A waveform shows the amplitude, the volume of the clip, and
where the amplitude, the waveform is wider the sound is louder.
| | 05:57 | Here for instance, we've got pulses, which vary
in width, but the loudest pulse is the widest one.
| | 06:04 | That is to say wide from top to bottom.
| | 06:06 | Soundtrack also supports the display of frequencies
contained by a clip, where the base frequencies,
| | 06:12 | the low frequencies are at the bottom of the display,
and the treble, the high frequencies are at the top,
| | 06:18 | and the color indicates the intensity of the frequency.
| | 06:21 | Blue, there's nothing there, light blue, a little
bit there, green, sort of moderate, yellow,
| | 06:27 | getting louder, and red, getting more and more intense.
| | 06:30 | So what we can do by looking at this spectrum is we can see
where our frequencies are located and whether they are hovering
| | 06:37 | at the low, the middle, or the high end of the frequency bend.
| | 06:40 | We'll be talking how we can edit these frequencies
inside Soundtrack a little later in this training.
| | 06:46 | I don't want to spend a lot of time with terminology, but if we
don't understand some basic terms, then we all sort of feel lost
| | 06:52 | as we go through the learning process of this software.
| | 06:55 | This is sort of a way of setting a foundation to make sure
we all have an understanding of these core terms, but next,
| | 07:01 | let's talk about something more interesting,
the new features inside Soundtrack Pro.
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| New features in Soundtrack Pro 2| 00:00 | Soundtrack Pro 2 has much more than just a new version number.
| | 00:03 | It's got a whole flock of new features including a revised
interface, automatic and manual confirming to be able
| | 00:10 | to easily adjust for changes in Final Cut getting
confirmed or reflected into your audio project.
| | 00:16 | An improved multitrack recording and editing facility, a
multitake editor that will just leave tears in yours eyes,
| | 00:23 | frequency selection and editing tools, surround sound,
improved music and affect libraries, improved plug-ins,
| | 00:30 | tape-style scrubbing, OMF & AAF support,
improved and mixdown options.
| | 00:36 | There is a ton of new stuff inside Soundtrack Pro 2, and
we'll be illustrating this as we go through the title.
| | 00:43 | But, I wanted to show you now what they are,
so if there is one specific you want to look
| | 00:47 | at you can jump to that part of the training.
| | 00:50 | Thinking about jumping to that part of the training, it's time we
start to fire-up the program itself and discover the interface.
| | 00:57 | That's next.
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2. Learning the InterfaceInterface overview| 00:00 | We have had enough of the grounding and the
terms and it's time now to learn the interface.
| | 00:05 | Before we can start working with audio, we
need to understand how the application works
| | 00:08 | and that's what this whole section of movies is about.
| | 00:11 | We'll start by showing you how to start
the application and where to store files.
| | 00:15 | Then we'll examine the 6 panes of Soundtrack
Pro 2, it sounds like a movie title,
| | 00:21 | but its how the interface itself is organized.
| | 00:23 | We'll show you how to move and dock tabs from one Pane
to the next, how to create and save window layouts
| | 00:29 | and customize the toolbox so you can build the
working environment, that's most comfortable for you.
| | 00:34 | I'll illustrate how to use the global waveform view, which is
a great way of moving around inside an audio file; how to play,
| | 00:41 | stop and move around inside clips
and understand the track header.
| | 00:45 | Finally, we'll wrap up by showing you how to change timecode
so you can match timecode from anything to anything.
| | 00:52 | This is all about the interface and making
sure we're comfortable using the application
| | 00:56 | and then we'll start using it to create audio.
| | 00:59 | For now, let's start by starting the application that is next.
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| Starting the application and using panes| 00:00 | Well, let's start by starting the application and
there's a lot of different ways that we can Soundtrack.
| | 00:05 | Let me show you a couple of them.
| | 00:07 | Number one, we could go to our boot
disk, go to the applications folder
| | 00:12 | and scroll down till we find the application
itself, Soundtrack and double click it.
| | 00:16 | That's a lot of work.
| | 00:17 | An easier way to do it is to grab the application from the
applications folder and just drag it over into the Dock
| | 00:24 | and now whenever you need to start it, you
could, just single click on it in the Dock.
| | 00:29 | If you are always using Soundtrack, another
thing you could do is to control click
| | 00:33 | or right mouse click and have it 'open at login.'
| | 00:36 | This means that Soundtrack is going to start
every time you log in to your computer.
| | 00:40 | This can save you a lot of time,
if you are always using Soundtrack
| | 00:43 | or it would drive you nuts if you only need it from time to time.
| | 00:46 | If you ever need to get out of the Dock by the way
you can just drag it out of here and it's gone.
| | 00:50 | But, most of the time you're going to start
Soundtrack by double clicking on a project file.
| | 00:56 | Project files for Soundtrack can be stored just about anywhere
because most of the time media doesn't take a lot of bandwidth,
| | 01:02 | but just because I am in the habit, I recommend that you
store all of your Soundtrack files on your second drive.
| | 01:08 | So I am going to just double click the second drive and
I've created a folder here called "Soundtrack Pro Assets."
| | 01:14 | This is the actual folder that you'll get with your
system if you are working with the exercise files.
| | 01:19 | Now we haven't finished building all the exercise
files because we sort of build them as we go along
| | 01:23 | with this training, but inside you're going to find two folders.
| | 01:27 | One is a folder called 'Project Files',
another folder is called 'MediA and to open
| | 01:31 | up a 'Project File' remember I created these just
as I created the "Soundtrack Pro Assets" folder.
| | 01:37 | If I open up the Project file, you'll see a variety of files
here, but the one that we're interested in is 01 Taj Restaurant.
| | 01:44 | When I double click it or when I single click on it in the
Dock or when I click Soundtrack in the applications folder,
| | 01:50 | the application starts and it loads the file.
| | 01:54 | This is the new Soundtrack Pro Interface, but as usual the Dock
is poking its ugly head back in here again and we need to get rid
| | 02:01 | of it and here's a nice keyboard shortcut, it's one of
my absolute favorite, it's Option+Command+D as in Dock
| | 02:08 | and Option+Command+D toggles the Dock on and off and just as
we've got Control+U inside Final Cut to reset all of our screens
| | 02:17 | to a default layout, we have the same concept
inside Soundtrack and that's the F1 key.
| | 02:22 | When you press the F1 key, it resets your screens back
to their default setting and it fills the frame taking
| | 02:29 | out all the space that the Dock used to occupy.
| | 02:31 | Inside Soundtrack are 6 Panes.
| | 02:34 | There's the top Pane which allows us to see video and
the Lower Pane which has got a bunch of tabs in it
| | 02:40 | and these two together are called the Left Pane.
| | 02:43 | They are called that because they are on the left side.
| | 02:46 | Notice, on the right, we've got two other kinds of Panes.
| | 02:50 | This is where our metering is done and where we're able to
find stuff and it is called the Right Pane; still my heart
| | 02:58 | and this is the Center Pane up here, this is your
timeline and below it is what's called the Lower Pane.
| | 03:04 | Now because I am working with a very small
screen in order for this tutorial to fit,
| | 03:08 | I am only working with the 1000 pixels
across and some number down.
| | 03:12 | So this has got a very squashed feel.
| | 03:14 | I'd like to be able to turn these Panes on and
off to be able to give myself some more room
| | 03:19 | to work and we can do that by going right up here.
| | 03:22 | If I click this, this toggles the Left Pane
one and off giving me more room to work.
| | 03:27 | This toggles the Lower Pane off and on giving me more
room to work and this toggles the Right Pane on and off.
| | 03:34 | So I can click on whatever Panes I want to work
with by using these three mouse buttons up here,
| | 03:40 | but there's also some useful keyboard shortcuts we can
use, which I find myself using frequently and that is
| | 03:45 | if you hold the control key down and type the letter A, Ctrl+A
toggles the Left Pane on and off, Ctrl+S toggles the Lower Pane
| | 03:56 | on and off and the letter D toggles the Right Pane on and off
and if you study your keyboard, notice that the letter A is
| | 04:03 | on the left, S as in Sam is in the center and D is on the right.
| | 04:08 | So Ctrl+A+S+D will toggle those three Panes on and off.
| | 04:14 | Well, now that we've got the application started and we've
had a passing acquaintanceship with 6 Panes inside Soundtrack.
| | 04:22 | Notice that each of the Panes has a tab and what
I want to do next is introduce you to the tabs,
| | 04:27 | so you understand what they do and that would be next.
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| Working with tabs| 00:00 | Inside each of these Panes are a series of tabs.
| | 00:03 | That's these things right across here and one of the nice
things about these, just as we can do so in Compressor
| | 00:09 | and just as we can do in DVD Studio Pro and to a lesser
degree Final Cut, we could grab one of these tabs,
| | 00:16 | click hold and drag and now it becomes a freestanding window.
| | 00:19 | We could grab the thumb down the right corner and make it as
big or as small as we want and if we wanted to Dock it back
| | 00:25 | where it came from, again, we could simply grab it and
drag it and notice that yellow window that shows up.
| | 00:31 | As soon as you see that yellow window, just drag it where
you want it to go and it's now Docked, back into place.
| | 00:37 | The benefit to this is there's some controls for instance
the track window which I would like to see say over here.
| | 00:43 | I can grab the track window and create my own layouts
simply based upon where I want to drag the tabs.
| | 00:49 | For the purpose of this training, we're not going to do any
customization, we're going to work with the files exactly
| | 00:54 | as they're setup, that you have a chance to see what's going
on, but depending upon the kind of work that you're doing,
| | 00:59 | it maybe useful to have different tabs moved around so you can
maximize your window space and still see what you need to see.
| | 01:06 | And again, if we need to change the
setting, we can pull it back here.
| | 01:10 | So, tabs allow us to change our window
layout so we can see what's going on
| | 01:15 | and we can see the tab that we want and all that sort of stuff.
| | 01:18 | This is exactly the way it works in Compressor and DVD
Studio Pro and Final Cut, but there is more to customization
| | 01:25 | than just moving tabs around, we can actually customize
our window layouts and that I'll show you next.
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| Creating custom window layouts| 00:00 | Just as we can move our tabs around to customize
where the tabs are stored inside Soundtrack,
| | 00:05 | we can also create customized window layouts and the customized
window layout includes both tabs and the customized toolbar.
| | 00:12 | We're going to talk about the toolbar next.
| | 00:14 | Let's talk about the window layout now.
| | 00:17 | Built in to soundtrack are two window layouts,
Standard and with a separate Mixer and Video window.
| | 00:22 | The separate windows are really useful when you've got see two
displays or you've got a much larger display because I am sort
| | 00:28 | of crammed in here, we're going to be
principally working with the standard window.
| | 00:32 | To select it, it's F1 or F2 for the
separate Video and Mixer window.
| | 00:37 | By the way, having tabs pullout like this.
| | 00:39 | This is really useful if you've got a dual monitor display
and you've got the real estate to spread your tabs out to
| | 00:45 | because then you are able to look on the second
display for things like levels and that sort of stuff
| | 00:49 | without affecting the size that your timeline
has squeezed into on your main display.
| | 00:54 | Also there's another thought, you
don't want to have your timeline spread
| | 00:57 | across multiple windows; Soundtrack
Pro often has troubles with that.
| | 01:01 | Keep your timeline all on one window and put
separate windows on your separate display.
| | 01:05 | So just because we can, let's put the tracks window
down here and let's put the Actions window up here
| | 01:12 | and we'll put the Projects window
down here, we'll just build this
| | 01:15 | and if I had more screen real estate,
I could change the sizing of these.
| | 01:19 | Let's say that I am just desperately in
love with this and I want to save it.
| | 01:23 | So to do that, we go up to the Window
menu and we go down to Save Layout.
| | 01:28 | With Save Layout we'll call it Larry's Layout, I call
it that because it's my name; anyway, click Save.
| | 01:36 | Now, when I go to Window and go to Layouts notice that my
customized layout is on top and I've got a Standard layout.
| | 01:44 | So if I wanted to go back to standard layout; all of my
tabs reset, my windows resize, go to 'Larry's layout'
| | 01:51 | and everything gets reset based upon 'Larry's layout'.
| | 01:53 | I am going to hit the F1 key here we set everything back.
| | 01:56 | Let's say that I don't like my layout.
| | 01:58 | You are to manage layouts and you could if you wanted to,
double click it and you could rename it, 'Fred's window layout'
| | 02:06 | and now it has been renamed to Fred, notice
that there it's now 'Fred's window layout'.
| | 02:11 | I could even use Scott or a Mary's layout for
that matter or if you want to delete the layout,
| | 02:17 | you simply highlight it and hit the - key and now it's done.
| | 02:20 | So we have the ability to customize our layouts.
| | 02:22 | So it's one simply key stroke to get to where we
going to go and when we're done, click the Done key.
| | 02:27 | So you can create customized window layouts, you can
rename window layouts and you can delete window layouts,
| | 02:36 | but there's one more thing we can do with
customization and that's customizing the toolbar.
| | 02:40 | We'll talk about that next.
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| Creating custom toolbars| 00:00 | Just as we can shuffle our tabs around and create
customized window layouts, we can also customize the toolbar.
| | 00:07 | Now the toolbar is this area up here.
| | 00:10 | If you want to make the toolbar disappear, click this button, in
the top right corner and that makes the whole toolbar disappear
| | 00:16 | or you can Ctrl+Click and say just show me the
icons for the toolbar and the text disappears
| | 00:22 | which saves some vertical real estate
or Ctrl+Click and say Text Only
| | 00:26 | and we see just text headers up here
which saves even more real estate.
| | 00:31 | In this case, let's leave the icons and text showing and
click on the next choice, which is to say Customize Toolbar,
| | 00:38 | and this opens up all the different
choices that can be placed in the toolbar.
| | 00:41 | For instance, let's say that we wanted to add the ability to
have a time marker so we can create a marker up here and we want
| | 00:49 | to have marker lines be visible and we want to
do a 'Convert to Mono' because you're doing a lot
| | 00:55 | of dual channel work and you want to split the channels up.
| | 00:58 | So you simply grab whatever you want to add
down here and drag it up into the toolbar.
| | 01:05 | When you're done, you click the Done panel and
notice that now all of our new choices show up.
| | 01:10 | Now these get saved with the layout.
| | 01:12 | So what you would need to do is then go to Window,
Save Layout to make sure that your choices get saved.
| | 01:18 | So you organize your tabs the way you want
and organize the toolbar the way you want
| | 01:22 | and that becomes the new layout that you then save.
| | 01:24 | If you decide that you don't want a particular menu choice in
the toolbar, go back to Customize and grab the one you want
| | 01:31 | to get rid of and drag it out and a cloud of smoke; it gone.
| | 01:36 | If you need to get back to the default setting,
grab all these default choices down here as a clump,
| | 01:41 | drag them up into the toolbar and it automatically
resets your toolbar to the default setting.
| | 01:46 | The whole purpose behind all of this customization is to allow
you to configure the software so that it sets up an environment
| | 01:53 | in which you are comfortable working whether its making sure
that tabs are in the right spot or the window is sized properly
| | 02:00 | or you are taking advantage of both monitors that you
are working with or you've got the right toolbar buttons.
| | 02:05 | Soundtrack Pro allows you to customize
it to meet your particular needs.
| | 02:09 | Now for the purposes of this training we're going
to go with the standard layout and the standard tabs
| | 02:14 | because otherwise it just gets too
confusing for people to figure out.
| | 02:17 | That's not because I don't like customization,
it just makes the training easier.
| | 02:21 | So we can customize our tabs.
| | 02:24 | We can customize our window layouts
and we can customize the toolbar.
| | 02:27 | Keep in mind that the toolbar gets saved with your window layout.
| | 02:31 | So if you wanted to have a variety of different toolbars,
| | 02:34 | you then have to save a separate window layout
for each of the toolbars you want to access.
| | 02:38 | So now we've got this customization figured out.
| | 02:40 | Let's do a little bit more this orientation and learning of the
interface, and we want to talk about this thing right here, next.
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| Global Waveform view| 00:00 | It would be wonderful if we had a global waveform view
inside Final Cut where we could see all of our clips all
| | 00:05 | at one time, but we don't, but we do inside Soundtrack.
| | 00:10 | Let's just do it this way, click the Left Pane and
click the Right Pane and we'll click the Lower Pane.
| | 00:15 | So now we've got all of this back, Shift+Z automatically
scales your waveform to fit the window works exactly the same
| | 00:24 | as Final Cut and notice what has happened up here, I have
got a miniature view of my tracks up here in this global view
| | 00:32 | that mimics exactly what I've got down here in the timeline.
| | 00:36 | Now it's just this, let's click on this
button right here to make our tracks bigger.
| | 00:40 | Wow! The tracks are bigger.
| | 00:43 | In fact they're so much bigger, I can't even
see the tracks that I've got below here.
| | 00:48 | Well that's where this comes in, if I grab this hand, notice
as I pull this down, I can scroll up or scroll down to see all
| | 00:56 | of my tracks as I am going up or down inside this global view.
| | 01:00 | Let's try something else.
| | 01:01 | If we do Command+Plus and zoom in, notice what has happened here.
| | 01:05 | This little rectangle has gotten smaller and smaller.
| | 01:08 | This shows us the portion of the
timeline that we're able to zoom into,
| | 01:12 | Command+Minus to zoom out, I see more Command+Plus to zoom in.
| | 01:17 | So I am going to zoom out just a bit.
| | 01:18 | What happens if I wanted to quickly go over here?
| | 01:21 | Inside the global view, you just click and then
drag down to be exactly where you want to be.
| | 01:26 | This is a really handy way of navigating inside very
large projects because you cannot only move horizontally,
| | 01:33 | you can move vertically just by click hold and dragging.
| | 01:37 | Drag right in the middle of it and you can drag exactly where you
want to go and by Command+Plus and Command+Minus you can zoom in
| | 01:44 | or zoom out and Shift+Z will automatically scale
stuff horizontally to fit inside the timeline
| | 01:51 | and these little settings here will scale you vertically.
| | 01:54 | So you can see exactly all of your tracks, to the extent
that you've got screen real estate for all of them to be able
| | 02:00 | to fit everything in and notice that now our window fits edge to
edge because we see the entire piece that we're putting together.
| | 02:07 | This is so nice and I wish we had it in the Final Cut.
| | 02:12 | So I just celebrate having it in Soundtrack because it
makes moving around inside complex projects horizontally
| | 02:18 | and vertically a lot easier but there
is still more to see in this interface.
| | 02:23 | We'll talk more about that next.
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| Playing, stopping, and moving around| 00:00 | Finally after all this preamble we get to start moving
things around and playing back and stopping and starting
| | 00:07 | which is why we gotten the Soundtrack Pro in the first place.
| | 00:10 | So let's go to the beginning and there's that playhead
works exactly the same as the playhead inside the Final Cut.
| | 00:17 | The beginning is always on the left, the end is always on the
right and this red marker is called the end of song marker.
| | 00:23 | Soundtrack will always output from the beginning of your
project to the red dot unless you set an inner and out,
| | 00:30 | we'll talk about that later, its called the cycle region
and everything pass the red line does not get exported.
| | 00:37 | It indicates the hard end of what we are doing.
| | 00:39 | We could if we wanted to grab this end of song and drag
it just in case you want to know, can we drag markers?
| | 00:45 | Yes we can and there'll be training a
little bit later on markers themselves.
| | 00:48 | How do we get to the beginning?
| | 00:50 | We go right down here to this toolbar.
| | 00:52 | See this button right here that says, 'Go to the beginning'.
| | 00:55 | This button right here says, 'Go to the end'.
| | 00:58 | So if we go to the beginning and then
click our Play button, it starts to play.
| | 01:01 | This takes US back one frame at a time, notice our timecode
readout right here and this takes us forward one frame at a time.
| | 01:11 | If I wanted to jump to a specific time, I could simply type in
the timecode I want to jump to and the playhead jumps there.
| | 01:18 | I am double clicking to select the time, typing
the number I want to jump to and it jumps there.
| | 01:23 | This button takes me back to the beginning and starts to play.
| | 01:28 | This red button has got sort of a multi personality
and motion that turns on key frame recording.
| | 01:33 | Here it starts us recording based upon whatever track is armed.
| | 01:38 | So generally keep your cotton picking (ph) fingers
off the red button because that's the record button.
| | 01:42 | The problem is I would like some keyboard shortcuts
for some of these things and so we got them,
| | 01:48 | if you wanted to play, Spacebar, to stop, hit the Spacebar again.
| | 01:53 | If you want to go to the beginning, hit the Return key.
| | 01:56 | The Return key takes you to the beginning and the Spacebar
plays, but this is very cool if you hold the shift key down
| | 02:02 | and hit Shift+Return, Shift+Return takes you to
the beginning and starts playing automatically.
| | 02:08 | If you want to go back one frame at a time, if you
want to go back two seconds at a time, the left arrow.
| | 02:16 | Well why is it two seconds?
| | 02:18 | Why isn't like a second and three quarters?
| | 02:21 | That's what these vertical lines indicate.
| | 02:24 | These are called beat lines.
| | 02:26 | We can also move around using the up and down
arrow keys just as it does inside Final Cut.
| | 02:31 | The up and down arrow keys take you to
the previous in the following shots.
| | 02:35 | So the up and down arrow keys take you
to the beginning at the end of each clip,
| | 02:39 | but the left and the right arrow keys,
don't do what you think you're going to do.
| | 02:43 | If you use the right arrow key, you don't move one
frame to the right or the left arrow key one frame
| | 02:49 | to the left instead you jump to each one of these grey lines.
| | 02:53 | These grey lines are the bar line.
| | 02:55 | This is a musical notation that talks about beats and bars
and we can control that up here when we talk about the timing.
| | 03:02 | We'll talk about these during music when we're
talking about the creation of music inside Soundtrack,
| | 03:07 | but for right now we aren't moving an individual frame at a time,
| | 03:10 | we are moving a measure at a time with
the left and the right arrow keys.
| | 03:15 | Not to panic you can change this if you want, but for right now,
| | 03:18 | we are just going to accept the fact
that it is moving one measure at a time.
| | 03:25 | If you wanted to move one frame at a
time, you hold the option key down.
| | 03:29 | Option+Left arrow takes you back one frame at a time.
| | 03:32 | Option+Right arrow takes you forward one frame at a time.
| | 03:37 | And if you want to zoom in or zoom out, we can do
Command+Plus Command+Minus which centers on the playhead.
| | 03:48 | You can also use Ctrl+Left arrow and Ctrl+Right arrow
which does the exact same thing, Ctrl+Left arrow
| | 03:54 | and Ctrl+Right arrow would zoom you in or
zoom you out, centering on the playhead.
| | 03:59 | So we turn to go to the beginning, Spacebar to play,
Spacebar to stop, Shift+Return to go to the beginning
| | 04:05 | and play and its very cool, you ready for this?
| | 04:08 | The J, K, and L keys work exactly the same.
| | 04:12 | If I type the L key, I go in real time, take the L key
twice, I go at double speed, K stops, J goes in reverse,
| | 04:23 | 'JJ' goes at double speed but, we can even down shift.
| | 04:27 | If I hit the L key three times and then hit
the J key, it steps me down with double speed,
| | 04:34 | I hit the J key again, it steps me
down to standard, normal speed.
| | 04:39 | K stops, K and L, slow motion forward, K and J, slow motion back.
| | 04:48 | Just as in Final Cut I've got multiple ways of moving around.
| | 04:51 | I can use the Spacebar to play and stop.
| | 04:53 | I can use the J, K, and L keys to go fast forward rewind, fast
forward, forward, fast rewind, fast for'ard whatever it is.
| | 05:01 | You go quickly in either direction the J, K, and L keys and
just keep hitting L two, three times will speed up as it goes.
| | 05:06 | Hit the J key, it will slow L down, K to stop.
| | 05:09 | We can use the up and down arrow keys to move between shots.
| | 05:12 | We can use the buttons at the bottom or we could click
and jump to playhead or if we want the playhead to go.
| | 05:19 | But we need to be inside the Scrubber Bar up here because down
here the playhead will jump, but you'll also be selecting clips
| | 05:28 | and you run the risk of selecting a clip, it's better
to get the habit of moving the playhead up here.
| | 05:33 | If like me, you are one of these people that wants to grab
the playhead and drag it, you end up with this weird thing
| | 05:41 | which we've never seen before inside Final Cut.
| | 05:43 | That weird thing is called the cycle region.
| | 05:46 | What a cycle region does is it acts like an inner
| | 05:48 | and out inside Final Cut indicating the beginning
and the end of what we want to work with.
| | 05:53 | When this button down here is on and I
play, see how it loops over and over again.
| | 06:04 | That's because looping is turned on.
| | 06:07 | If I turn this off I'll just make the
cycle region smaller so it happens quicker.
| | 06:13 | It doesn't loop through the cycle region.
| | 06:16 | So if you wanted to say here the same effect over and over
so could adjust equalization or spot in a sound effect.
| | 06:23 | You would draw a cycle region and
you turn on this looping function.
| | 06:28 | We'll talk more about cycle regions later but to get rid of
it, just as you get rid of the in and the out inside Final Cut,
| | 06:34 | you get rid of the cycle region the same way.
| | 06:36 | It's Option+X, you just click and hold to draw it, which happens
whenever I am trying to move the playhead and scrub it back
| | 06:43 | and forth I draw the cycle region by
mistake, Option+X makes it disappear.
| | 06:50 | It's better to drag the playhead by
clicking on this yellow triangle at the top
| | 06:55 | because if you're holding the yellow
triangle no cycle region gets drawn.
| | 07:00 | So now you've got enough of an orientation
you can navigate inside the global view.
| | 07:04 | You can move the playhead around by dragging it.
| | 07:06 | You can use the arrow keys, you can use the J, K, and L keys.
| | 07:10 | You can use the Spacebar, Return and Shift+Return.
| | 07:14 | There's lots of different ways that we can navigate
around and play and stop all inside Soundtrack.
| | 07:20 | But there's just a couple of more things I want to show you
in the interface before we move into actually starting to work
| | 07:27 | with audio and the last one is this field right
here which is timecode, talk about that, next.
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| Working with timecode| 00:00 | There are two time basis that are built into Soundtrack Pro,
one is time Based and the second is Beats and Bars Based.
| | 00:07 | For those of you that have a musical background,
when we work in music, we're working in measures
| | 00:12 | and each measure contains a certain number of beats.
| | 00:15 | For instance a waltz has three beats to a
measure and most rock is four beats to a measure
| | 00:20 | and jazz could be everything from six to nine beats to a measure.
| | 00:24 | If you are doing music, being able to count in beats
and bars is really useful and Soundtrack supports that.
| | 00:30 | But when you are working with video being able to work in time
and more importantly timecode based is even more important.
| | 00:38 | When we load a video into Soundtrack, it automatically
defaults to a timecode based setting and for those of you
| | 00:44 | that are not familiar with timecode,
timecode is four pairs of numbers.
| | 00:48 | The first pair represents the hours, the second is the
minutes, the third is the seconds, and last is the frames.
| | 00:54 | In a PAL environment it would be 25 frames a second
and in the NTSC its 30 frames and Film would be 24.
| | 01:01 | In HD it could be any of a cornucopia number of frame
rates, but the basic unit of measure is this last number.
| | 01:08 | It's frames generally in video though
it could be thousands of a second.
| | 01:13 | The way this gets changed this in the preference setting,
we'll be talking about preferences a little bit later.
| | 01:17 | For right now, I just wanted to illustrate
that we can actually change the timecode
| | 01:22 | that we're working with and we can switch individual tracks.
| | 01:25 | So some of them are time based and some
of them are beat based, let me illustrate.
| | 01:30 | First, let say that I wanted to jump to a particular
time code, say I wanted to jump 30 seconds in.
| | 01:36 | I double click this number, type 30 and
notice that my playhead jumps 30 seconds in
| | 01:41 | or I wanted to be at 22 seconds and tab 20 frames.
| | 01:48 | So notice I am at 22 seconds and 20 frames.
| | 01:52 | As we move the playhead back and forth,
the timecode and the beats update.
| | 01:57 | I can assign this track.
| | 01:58 | Let's say that this is a music track,
it isn't, but let's say that it is.
| | 02:01 | I am going to select the track.
| | 02:03 | Notice that track header becomes selected, go up to
Multi Track, change the track Time Based to Beats.
| | 02:09 | So let's say I had music that wanted to sink
against the bars that I have illustrated here.
| | 02:14 | The measures are indicated by these vertical lines
and I want to build some music based upon those beats,
| | 02:19 | so this particular track is timed based upon the
measures, while this track is timed based upon timecode.
| | 02:26 | I can have different time structures built into Soundtrack.
| | 02:29 | Most of the time for me because I am
principally using Soundtrack for mixing my audio,
| | 02:34 | leaving everything set to timecode is perfectly okay,
but it's nice to know that if I wanted to concentrate
| | 02:40 | on creating something musical or I wanted to really
integrate some custom made music with my video,
| | 02:46 | I can have two different time bases going at
the same time and everything stays in sink.
| | 02:51 | With timecode, life (ph) is aligned based upon the frame,
| | 02:55 | with beats and bars clips are aligned based upon
measures and based upon beats inside the measure.
| | 03:00 | It's just simply a way of controlling how we align the clips.
| | 03:04 | As I said earlier, we can set this inside preference and
we'll be talking about preferences in the next movie.
| | 03:10 | One more thing to show you before we wrap this up and that's
where we can change the basic timecode of our project.
| | 03:16 | Just type Ctrl+A or click the button that says Left Pane
and go to the Project tab and under the Project tab,
| | 03:25 | under Properties, we have our initial timecode.
| | 03:28 | Notice that this defaults to timecode 0 hours.
| | 03:31 | Let's say I wanted it to be time code of 4 hours, so I type 04.
| | 03:36 | Notice that it automatically changes the timecode of my
entire sequence so everything is now set to timecode 04.
| | 03:43 | This would be useful if you're integrating video
and you've got a paper list of what has to go where
| | 03:48 | and the timecode is all written in the tape
timecode which starts at say hour 2 or 4 or 6.
| | 03:53 | It's nice to be able to customize the timecode
to work exactly the way that you want it to work.
| | 03:58 | Final Cut starts with hour 1, Soundtrack starts with hour
0 and this can be changed both on the individual project,
| | 04:04 | notice the project tab or this could be
changed as part of the preference settings,
| | 04:08 | that we'll be talking about a little bit later in this training.
| | 04:11 | Still one more thing to talk about though and
that's what this white highlighted thing is.
| | 04:15 | It's called the track header and we'll talk about that, next.
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| Understanding track headers| 00:00 | There's one more thing I want to talk about
before we wrap up our discussion on the Interface
| | 00:04 | and that's this thing that is over here called the Track Header.
| | 00:07 | Now in Final Cut, clips are individual and distinct.
| | 00:11 | We apply filters to the clip, we change
volumes to the clip; we edit the clips.
| | 00:15 | The clips are the smallest irreducible
quantity that we work with inside Final Cut.
| | 00:19 | Well the power of Soundtrack is that all those
clips are grouped together to what's called a track.
| | 00:24 | That's this horizontal thing here.
| | 00:27 | The track header allows you to make changes
to all the clips in the track at once.
| | 00:32 | For instance, if I click here and drag
left, I make all the clips quieter.
| | 00:37 | If I click on the Volume Slider and drag
to the right I make all the clips louder.
| | 00:41 | So I adjust the gain of the clip by adjusting the volume slider.
| | 00:45 | If it goes all the way to the left, the
clips are dead quiet, you can't hear a thing.
| | 00:49 | By the way here's nice mouse shortcut
if I double click on that control.
| | 00:53 | It automatically jumps back to Unity,
represented by this dark bar here.
| | 00:58 | Unity means that there is no change to the volume of
the clip compared to the level at which it was recorded.
| | 01:03 | We're not making it louder or softer.
| | 01:05 | Just to the right of that is the Pan Control.
| | 01:07 | As I drag this to the left or to the right all the sound
from that track moves to the left or moves to the right.
| | 01:14 | Now the Pan Control affects all the clips in
that track and I can of course automate both
| | 01:20 | of these and we'll talk about automation later.
| | 01:23 | To the right of the Pan Control is the Output Control.
| | 01:25 | This allows me to determine what output
channel my audio is going to go to.
| | 01:30 | There's only one output and that defaults to sending
your tracks to that output that too can be changed.
| | 01:35 | Immediately above it, this is the Solo command.
| | 01:38 | It mutes all the other tracks and allows me
to just hear this one or the Mute command.
| | 01:42 | It turns off this track so I hear everything except this
track or the record arming, notice how its gone red.
| | 01:49 | This is telling Soundtrack which track I want to record
my audio to, so we would arm by using this red button.
| | 01:56 | This is a effect bypass switch.
| | 01:58 | I don't have any effects applied, there's nothing to bypass.
| | 02:01 | As I play the clip, there's my VU Meter,
it allows me to see the volume of my clip.
| | 02:07 | When I go down to hear, notice that I have got green volume
settings on all these different tracks so I can quickly
| | 02:13 | at a glance see if one particular track is too loud or too soft.
| | 02:18 | I can name a track by clicking here near the name and call
it Track Name, hit the Enter key to make the name stick
| | 02:25 | that is say to record it or click again and change it.
| | 02:28 | I am going to change it back to sound on tape because this
first track is all my sink sound and tracking (ph) head.
| | 02:34 | When I click the disclosure triangle, it reveals two envelopes.
| | 02:38 | The key frames for volume settings as what
these diamonds represent and the key frames
| | 02:43 | for pan that's what these diamonds represent.
| | 02:45 | Key frames can be adjusted, can be set, can be moved.
| | 02:48 | We've got a whole section on key frames that's coming up.
| | 02:51 | We can also adjust where the track occurs by grabbing this
track bar here, click hold and dragging it down or click hold
| | 02:59 | and drag it up and notice that I can change the
order of a track by simply dragging it above
| | 03:10 | or below where I wanted to move to and we can reposition tracks.
| | 03:14 | Now in Final Cut when we're working with video, the stacking
order is important that which is on a lower track is background
| | 03:20 | and which is on a higher track is foreground.
| | 03:23 | That doesn't exist inside Soundtrack.
| | 03:25 | All of our audio tracks are audible all the time.
| | 03:27 | The stacking order simply helps me to get them organized
in a way that I can figure out what I am doing.
| | 03:32 | I don't change the stacking order if I've got two or three
tracks, but if I've got 20 or 30 tracks I want to start
| | 03:37 | to clump tracks together so that all of my sound effects are
together and my music is together and my dialogue is together
| | 03:44 | and you may not have noticed this, but do
you notice that the clips are in color?
| | 03:49 | Very cool, can we do this in Final Cut?
| | 03:52 | No. Can we do it in Soundtrack?
| | 03:53 | Yes. And we can do it both by track and we can do it by clip.
| | 03:58 | To change the color of a track, Ctrl-click anywhere
in the Track Header and change the track color.
| | 04:04 | Let's change it to pink.
| | 04:06 | I notice that all of our clips have gone pink.
| | 04:08 | If you wanted to change the color of an individual clip,
Ctrl-click on the clip and we can change it to a different color.
| | 04:15 | So I've got a great clip on a pink track.
| | 04:18 | Well that certainly does make my eyes hurt and if you want
to change the color back, you could change the color back
| | 04:24 | by simply selecting the top choice which
says go back to the color of the track.
| | 04:28 | That's exactly what I did.
| | 04:29 | I changed all of my clips so that all of my sink sound
is going to be green, all of my wild sound is going
| | 04:36 | to be gold and all of my sound effects are blue.
| | 04:38 | There is no rhyme or reason to this.
| | 04:40 | You can use whatever colors you want, but the nice thing is it
makes it very easy to at a glance know exactly what your audio is
| | 04:47 | and so I say okay well there's my a
effects track and there's my sink sound.
| | 04:51 | Again, the whole idea is how can you
stay organized and colors can help,
| | 04:56 | labeling tracks can help and Soundtrack supports all of that.
| | 04:59 | One other note, these track colors and the track names
don't export back to Final Cut, couple of reasons why not.
| | 05:07 | One you're never going to export an individual track back to
Final Cut, you're always going to send a mix and number two,
| | 05:12 | Final Cut doesn't know what to do with track
colors or track names, they just ignores them.
| | 05:16 | As we wrap up this segment, let me give you a table of
some of the keyboard shortcuts that you can use to navigate
| | 05:22 | around inside Soundtrack and then we
move in to get some real work done.
| | 05:27 | Keyboard shortcuts are next.
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| Navigation keyboard shortcuts| 00:00 | This chapter has focused on introducing the Soundtrack Pro
Interface and discussing how we can move around inside it.
| | 00:07 | As a help, here's a list of the keyboard shortcuts that I
found most useful as I am navigating around inside Soundtrack.
| | 00:13 | There're still more to cover however and one of those
is the whole idea of setting your preference files,
| | 00:19 | just as we need to do that inside Final Cut and DVD Studio Pro.
| | 00:22 | We need to do it inside Soundtrack as well.
| | 00:25 | So we'll spend a whole chapter talking
about preferences and that is next.
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|
|
3. System SetupSystem setup overview| 00:00 | This chapter talks about System Setup
and we'll start by talking a look
| | 00:04 | at the Project window and the changes that we can make there.
| | 00:06 | How to set the sample rate on the Timeline to make
sure that the sample rate that you are working
| | 00:10 | with inside Soundtrack properly matches the sample
rate that you are working with inside Final Cut.
| | 00:15 | I'll show you how to set Soundtrack Pro preferences
including how to control where audio file are stored
| | 00:20 | and how to set MIDI preferences and
connecting a control surface just as --
| | 00:24 | and oh by the way, the control surface must support
the Mackie Control Protocol and this include ports
| | 00:30 | from Mackie and Yamaha and TASCAM and others.
| | 00:33 | I'll show you how to locate and index audio loops in case they
get lost and I'll talk about trashing Soundtrack Pro preferences,
| | 00:39 | not as important as trashing Final Cut preferences
but similar and something you need to know.
| | 00:44 | So let's get started first by talking
a closer look at the Project window.
| | Collapse this transcript |
| Working with the Project tab| 00:00 | The Project tab inside the left-hand pane allows us to control
a lot of the settings involved in this particular project.
| | 00:08 | Now I have loaded project 01 Taj Restaurant and just
to make it easier to see, though it is not required,
| | 00:14 | I am going to grab the tab and just drag
it out and create a free form window.
| | 00:18 | This way, I can dreg it down and make it
easier for us to see what's inside it.
| | 00:23 | The Project allows us to see the name of the
file, when it was created, when it was modified,
| | 00:27 | how big it is and where the project file was stored.
| | 00:31 | This also allows us to Audio and Video Pullup.
| | 00:33 | We'll be talking about that much later in the training.
| | 00:35 | As well as to see the properties associated; how
long the project is, what the Sample Rate is,
| | 00:41 | what its Video Rate is because this
was shot DVCPRO HD at 24 frame.
| | 00:46 | We have already seen how we can change the Initial Timecode,
| | 00:48 | we talked about that little bit earlier
in the last chapter but this is different.
| | 00:53 | In Soundtrack Pro 1, you could change between
Timecode and Beats by simply clicking in this window.
| | 00:59 | Now they make the change through this Ruler Unit.
| | 01:03 | If I change this from Seconds to Beats, notice that Beats
goes on top and now everything is timed, is synchronized,
| | 01:11 | is based upon the measures in the beats that's what
these gray vertical lines represent, the musical beats.
| | 01:19 | When I move my playhead around, here we go, click on the right
one; I can still see both my beats and my timecode changing
| | 01:27 | but the dominant controlling factor is based upon this setting.
| | 01:31 | If I want it to be Timecode, I set it to Seconds.
| | 01:33 | Notice they trade places, Timecode now goes on top and this
becomes my dominant setting for what controls the placement
| | 01:41 | and the timing of elements inside my timeline.
| | 01:43 | Collect imported media on save is very cool, if you wanted
to gather all of the media that's in your project together
| | 01:50 | and have it all be in one spot, turning this on will collect it.
| | 01:54 | This is a useful function if you've
got media scatter all over everywhere
| | 01:57 | and you are trying to put it in one spot so you can archive.
| | 01:59 | You can create media that is to say when you have new stuff,
you can follow the setting inside the Preferences that determine
| | 02:06 | where it's going to be stored or you can set it to your
own media folder inside the project, entirely up to you.
| | 02:11 | I will talk about that more when we talk about recording.
| | 02:14 | This I would call it's not really a podcasting data but
it's just a metadata that's associated in terms of, say,
| | 02:19 | you're putting a song to gather all of the
different elements that you want to track of.
| | 02:23 | Down here, this used to be up in the timeline
and I have moved it down into the project folder.
| | 02:29 | This is where you are able to set the Tempo.
| | 02:31 | Say you are creating music, let's say, all 90 beats a minute,
very slow or 120 beats a minute or 160 beats a minute,
| | 02:38 | this is where you can set the beats per minute of your particular
project and whenever you have got a dialogue like this,
| | 02:44 | if you just click-hold and drag in the middle, you
can change it by simply dragging, click-hold and drag
| | 02:50 | and you can drag your mouse left and right and change the setting
or you could simply select it and type in the number you want.
| | 02:56 | You can adjust your Time Signatures
from 3/4 up to whatever you want.
| | 03:01 | This does not actually change the music that you put into
your timeline; it's simply affects how it gets accounted.
| | 03:07 | You are also able to set the Key signature
for your timeline based upon this popup.
| | 03:13 | Now these three settings are used to live
in Soundtrack Pro 1, used to live up here
| | 03:17 | but if you are not creating music, you
don't care about all three of these.
| | 03:21 | If you are creating music, you care a great deal.
| | 03:23 | So this has been moved, I think, into a much better position
so that you don't mess with it up here and screw up something
| | 03:29 | that you didn't realize you were screwing up.
| | 03:32 | So that's the Project tab.
| | 03:34 | One other note, it's also possible to change
the sample rate from this popup menu right here.
| | 03:40 | See that thing; it looks like an AC current symbol.
| | 03:43 | When you click and hold on it, Soundtrack allows us to
work in sample rates from 32 kilohertz up to 192 kilohertz.
| | 03:50 | Your best choice is almost always going to be 48,
unless you are creating something which is going to go
| | 03:56 | on to an audio CD in which case that's going to be at 44.1.
| | 04:00 | Your file size increases as your sample rate increases.
| | 04:05 | It could be argued that you'll get much
higher quality with much higher sample rates.
| | 04:10 | Whether you are able to hear the quality or not, is an
entirely different issue but the quality will increase
| | 04:16 | as your sample rates increase but your file size will
also grow and it puts more of a load on your computer.
| | 04:22 | Unless you have specific reasons to work with the higher sample
rates, you are generally going to be working with 44 or 48.
| | 04:30 | Final Cut supports these, it works perfectly
with the video that you are shooting
| | 04:34 | and it keeps your file sizes to a manageable level.
| | 04:37 | So for me, I limit my choices to these two but there
is still more controls that we have inside Soundtrack,
| | 04:43 | those are the ones inside the Preferences
and Preferences are next.
| | Collapse this transcript |
| Setting system preferences: General tab| 00:00 | Let's go now to the Preferences panel inside Soundtrack Pro.
| | 00:03 | To get to Preferences, you go to
Soundtrack Pro, go down to Preferences
| | 00:07 | or the keyboard shortcut is Command+Comma,
which I can never remember.
| | 00:11 | Let's just click on Preferences and
there are six preference settings,
| | 00:15 | tabs I guess you call it, icons in the toolbar across the top.
| | 00:20 | In this movie, we are just going
to talk about the General setting.
| | 00:23 | This gives us the ability to have Soundtrack determine whether
we want to have it open the last project we were working
| | 00:29 | on when it starts, open a new empty project
or open a new empty audio file project.
| | 00:36 | I'll talk about the differences between
Multitrack and Audio File projects when we talk
| | 00:40 | about Repairing Audio in a couple of chapters.
| | 00:43 | You have the ability to have your Meters display in 'Surround
order' or 'Output order', the default is okay for right now.
| | 00:49 | This one drove me nuts for a long time as I was learning
Soundtrack Pro 1 and this is when I move the playhead by clicking
| | 00:56 | in the Timeline that's down in here
or the Time Ruler that's up in here.
| | 01:01 | If I click down here, the playhead will jump based upon
where I click or if I have this set in the Time ruler only,
| | 01:10 | I can click down here as much as I want that playhead won't move.
| | 01:14 | It only moves if I click up here in the time ruler.
| | 01:17 | I have discovered that about once a month,
I feel that the other choice is better.
| | 01:21 | So it really is whatever works better for you, it's
just a question of how you control the playhead.
| | 01:27 | The benefit to always being in the time
ruler is that there is never a risk
| | 01:32 | that you could accidentally move a
clip, which would knock your sync out.
| | 01:35 | But my mouse is always down here anyway
and it feels like I should be able
| | 01:39 | to click and have the playhead jump wherever I click.
| | 01:42 | So I am always changing this, depending upon my mood, the time of
day, the phase of the moon, whether the cats complaining are not.
| | 01:49 | So this is your choice as well which
is why it's in the Preferences setting.
| | 01:52 | This one also is a big deal; if you have a scroll-wheel
mouse and you scroll, you're able to move up
| | 01:59 | and down or left and right inside the timeline.
| | 02:04 | Let's zoom in here little bit, Command+C, I am scrolling.
| | 02:10 | So you are able to scroll window
content by using the scroll-wheel.
| | 02:14 | If this gets set to 'Zooms at playhead' when
you use this scroll-wheel, uses zoom in or out.
| | 02:20 | While this is just playing, it just totally drove me crazy.
| | 02:23 | So I always have this to the scrolling window content and by
the way, you notice that if we are scrolling, we go up and down,
| | 02:31 | here is a cool keyboard shortcut, I only tell this to my friends,
| | 02:34 | if you hold this Shift key down,
Shift+scroll-wheel moves you back and forth.
| | 02:39 | The scroll-wheel by itself up and down;
Shift+scroll-wheell, back and forth, very cool.
| | 02:45 | 'Automation Recording Sensitivity', what that means
is how accurately do you want to record key frames.
| | 02:51 | We'll talk about this is in key frames,
for right now I want to skip over it.
| | 02:54 | This is determining what Alerts it's going to show you,
in case you have a problem, leave them all checked,
| | 02:59 | you want to know about all the problems that's a good thing.
| | 03:02 | By default, when you save your audio file,
do you want to include the source audio
| | 03:07 | that means it can be played on a number of different systems.
| | 03:10 | This is generally a good choice.
| | 03:12 | The option is to use it as a reference which means it
would only play on your system and you know as well as I do
| | 03:18 | that in this particular case, you are going to forget that it's a
reference file, you are going to send the audio to somebody else,
| | 03:23 | it's not going to play, they will miss
that deadline, it will be your fault,
| | 03:26 | that dog will leave, the cat will complain, life is too short.
| | 03:29 | Just include the source audio, it's okay.
| | 03:31 | By default, Soundtrack stores your audio scratch
files that's a file that it's made say a render file
| | 03:39 | or a file that makes while recording in just a terrible place.
| | 03:42 | It stores it inside your home directory.
| | 03:45 | Now this is wonderful if you are the only person that uses your
computer but if you have got multiple people on your computer,
| | 03:50 | nobody is going to have access to those files except you.
| | 03:53 | Now that maybe what you want, you want to lock them up but most
of the time if you've got a couple of different editors working
| | 03:59 | on your system, you don't want them stored in your home
directory because then nobody but you gets access to them.
| | 04:04 | We want to change their location, to do that click the 'Choose'
button and what I do on my system is I go to my 2nd drive,
| | 04:11 | and I create a new folder by clicking on
New Folder and I say STP Scratch files.
| | 04:20 | Notice, I have got STP Scratch files and I am going to say Open
that and now all of my scratch files are stored on my 2nd drive
| | 04:27 | where they can be accessed by anybody running
my computer not just me and my home directory.
| | 04:32 | Same thing down here, where do I
want the edited media to be located.
| | 04:35 | Well, normally I would store the edited media with my project
file but just in case, I am going to put this on the 2nd drive.
| | 04:42 | I'll create a new folder, STP Edited media and I will click Open.
| | 04:50 | Now my media is over on my 2nd drive, I bypass
all the overhead that the boot drive has got.
| | 04:55 | I get out of the home directory, this just makes more sense.
| | 05:00 | It's going to make my life easier, it's
going to make my system perform faster.
| | 05:04 | Just as you would never store your Final Cut media
on your boot directory and I hope you are not doing
| | 05:09 | that because it's just a worst place to store media, you
don't want to store your Soundtrack on your boot directory
| | 05:15 | because the boot hard disk has got so much stuff
to do the operating system, and the applications,
| | 05:20 | and the background it is just - that poor thing is going nuts.
| | 05:23 | So make your life easier, your hard disks will love you,
they will call your name and honor you with great praise
| | 05:31 | because you are putting your media on the
right spot which is on your 2nd drive.
| | 05:34 | I am done now; I am getting off my soap box.
| | 05:37 | We are going to talk about the Project tab next.
| | Collapse this transcript |
| Setting system preferences: Project tab| 00:00 | The next tab inside Preferences is the Project tab.
| | 00:03 | To get to it, Soundtrack Pro, Preferences
and click on the Project tab.
| | 00:08 | This determines how many blank tracks should
be created when you first start your project.
| | 00:12 | I never start with that many; I always start with 4
but you can set it to any number you want up to 32.
| | 00:20 | You can also determine the default Track Height setting from Mini
to Large, Small or Medium is where I tend to work because most
| | 00:27 | of the time that tells me the information that I
need and whether you want Snapping turned On and Off.
| | 00:32 | By the way, do you want to know what the keyboard
shortcut is to turn Snapping On and Off inside Soundtrack?
| | 00:39 | The letter N, for Snapping, does that sound familiar or what?
| | 00:45 | Yes, it's exactly the same as Final Cut gave us.
| | 00:49 | Okay, I am done.
| | 00:51 | Move Envelope Points with Clips this is means that if
you move a clip and you have got key frames associated,
| | 00:55 | whether that you want the key frames to follow the clip or stay
put, clearly that varies by project, it's entirely up to you.
| | 01:01 | When two clips touch, do you want to have them fade between or do
you want to have one Truncate that is to say cut off the other,
| | 01:08 | who knows, both of those could be good answers.
| | 01:10 | A Crossfade with the + 3db fade type
is exactly the right setting.
| | 01:15 | +3db means that there is no audio
shift in the middle of the crossfade.
| | 01:18 | So if you are going to do Crossfade, +3db is the right choice.
| | 01:22 | Sample Rate, not only can we set it at the top of the
timeline, we can also set it here, it's the exact same popup.
| | 01:28 | This is where we are able to set starting timecode,
we can do it in the Project tab of Preferences.
| | 01:33 | This means that every new project, we
create, will start at the same point.
| | 01:37 | When we set the Project tab over here, it means we are
just changing the timecode of this particular project.
| | 01:43 | This is where we are able to specify do we want
it in measures in Beats or do we want in Seconds.
| | 01:48 | What do we want our Bit Depth to be?
| | 01:50 | Generally, 16 bit is good choice.
| | 01:52 | What's our frame rate setting?
| | 01:54 | These are simply duplicates of what's in here, the Preference
setting means that we are setting it for all new projects.
| | 02:01 | The Project tab means that we are setting
it just for that particular project.
| | 02:05 | Now an important note about Preferences, changing a
Preference setting does not change any existing project.
| | 02:13 | Changing a Preference setting only changes
those projects which have not yet been created.
| | 02:18 | Once the project itself exists, then
you need to go to the Project tab
| | 02:22 | over in the Left Pane to be able to change the settings.
| | 02:26 | This effects that which you are about
to create not that which already exists.
| | 02:32 | Let's talk about the Recording tab next.
| | Collapse this transcript |
| Setting system preferences: Record tab| 00:00 | The third Preference tab is the Recoding
preference and when we click on it,
| | 00:04 | it allows us to set the default record
settings for where our audio is coming from.
| | 00:09 | We can select an Input and this will change depending
upon what gear you have got connected to your system.
| | 00:13 | At a minimum, it's going to show a line input and it
will also show how many channels you have coming in.
| | 00:19 | Now this will change depending again
upon what kind of hardware you have got.
| | 00:23 | By default, Soundtrack will allow you to record
on two channels; Channel 1 and Channel 2.
| | 00:29 | You are also able to determine how
you want your sound to be monitored.
| | 00:32 | 'None' means you are going to be hearing
it through the headsets on your computer.
| | 00:35 | You could also feed it out, the line out and you would be
able to feed it to a mixer or externally connected device.
| | 00:42 | Latency adjust for when you are listening to your recording,
there is always a little bit of a delay called latency
| | 00:49 | from the time the signal comes into the
computer to the time the signal comes back out.
| | 00:53 | Now if all you are doing is recording narration, nobody cares but
if you are playing instruments and you have got lot of latency,
| | 00:59 | then certainly the instruments can't play in time
because one person is not hearing the other person.
| | 01:04 | At the same time, there is delay through the computer.
| | 01:06 | This allows you to compensate for it until it sounds normal.
| | 01:09 | By default, Soundtrack stores your recordings in your home
directory which is the one location that I really don't
| | 01:15 | like because it puts it on the boot disk and the boot
disk has got way too much other stuff on its mind.
| | 01:20 | I really try hard to store my recordings on my 2nd drive.
| | 01:23 | To change it click Choose, click on the 2nd Drive and you could
store, let's say, an STP Scratch files or create a new folder
| | 01:30 | and call it 'STP Recording files' and I would
store -- now, we stored it in wrong spot.
| | 01:39 | So we will click Choose, 2nd Drive,
New Folder, STP Recording files.
| | 01:49 | I have got my edited media, my project files, my
recording files, my scratch or temporary files
| | 01:54 | and when I click Open, now its moved it to the 2nd drive.
| | 01:58 | This is a much better place to have your files be.
| | 02:00 | The exact same thing is Final Cut; you never
want to capture media to your boot drive
| | 02:04 | because the boot drive has got too
much other stuff to worry about.
| | 02:07 | It cannot reliably playback your video.
| | 02:10 | Same thing with the Soundtrack, not quite as bad as video
because the files aren't as big but you are going to be working
| | 02:14 | with many more files at one time with Soundtrack, having
a 2nd hard drive is going to make a big difference.
| | 02:20 | So the Recording preference allows you to set those preferences.
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| Setting system preferences: Sync tab and MIDI| 00:00 | The forth preference over is Synchronization,
which refers to MIDI synchronization.
| | 00:05 | So I just happen to have a keyboard lying around and I plugged
in the keyboard and I was able to establish a connection
| | 00:11 | with the keyboard for my Clock and Timecode settings.
| | 00:13 | But here is the important note; I can use MIDI to synchronize
| | 00:18 | between different MIDI devices but
Soundtrack does not record MIDI.
| | 00:22 | So I can't play the keyboard and I have it to be
MIDI-ized, whatever that word is, in the Soundtrack,
| | 00:28 | I can in GarageBand but I can't in Soundtrack.
| | 00:31 | So what I am using Soundtrack for
are timing pulses and clock pulses.
| | 00:35 | I just want you to note if you are new to
MIDI, you want to pay attention to two things.
| | 00:38 | One, not only the Synchronization preference
inside Soundtrack but there is also an application
| | 00:43 | on your computer called Audio MIDI and I
will show that you quickly because you need
| | 00:47 | to adjust both of them to recognize your MIDI device.
| | 00:50 | So once we have done making changes to our Clock and Timecode
and making sure our device is set here, we will close this.
| | 00:58 | I am inside the Utilities menu and in the Utilities
menu, there is program called Audio MIDI Setup.
| | 01:03 | This is used whenever you need to set up an external
audio device or a MIDI device and notice that when I click
| | 01:10 | on the MIDI Device tab, there is my keyboard properly set up and
I am able to add devices, remove devices, rescan the USB bus,
| | 01:18 | which is how this connected to make sure my device
is properly attached and I can also test the setup.
| | 01:24 | Now I use this exact same keyboard in GarageBand.
| | 01:27 | I am able to play, everything works great.
| | 01:29 | I am able to use it for timing and connection
and synchronization inside Soundtrack
| | 01:34 | but I am not able to use it to actually record MIDI sounds.
| | 01:37 | Just as a way of information for you but there is still
more preference to go, we will talk about the next tab next.
| | Collapse this transcript |
| Setting system preferences: Control Surfaces tab| 00:00 | Connecting a Control Surface is actually a little bit
more complex than just simply setting a preference file.
| | 00:05 | So, we have decided to turn this into a
production and show you how it's done.
| | 00:09 | It starts in the Operating System and
it starts in the Utilities folder.
| | 00:13 | What we are doing is we are connecting a
Mackie Control Universal control surface.
| | 00:17 | Now, they have two flavors; the Control
Universal and the Control Universal Pro.
| | 00:21 | This one, the Control Universal,
attaches to the computer via MIDI.
| | 00:25 | The Control Universal Pro has a USB connector.
| | 00:28 | So, in order to get this to attach,
we have added an E-MU MIDI Controller.
| | 00:33 | Here is a picture of it.
| | 00:34 | That allows you to take the MIDI coming
out of the Control Surface into the E-MU
| | 00:38 | and the E-MU feeds a USB signal to the computer.
| | 00:41 | It sounds complex, it's really easy.
| | 00:44 | That part simple, here is where it gets harder.
| | 00:46 | We got to tell the computer that it exists
and we do that inside the Utilities folder.
| | 00:50 | Shift+Command+U' opens up the Utilities folder and
you look for a program called Audio MIDI Setup.
| | 00:57 | When you do, once you've got that E-MU connected, you see that
it automatically is setup here, configured properly, ready to go.
| | 01:05 | Problem is this is only half way to the system.
| | 01:08 | We have got it from the computer to the E-MU, but we
don't have it from the E-MU over to the Control Surface.
| | 01:13 | So, we have to add a new device.
| | 01:15 | So, we click Add Device and now it's added a new device.
| | 01:20 | Let's double click it and we are going
to call it Mackie Control Universal.
| | 01:28 | This stuff here is just so we can find the appropriate picture.
| | 01:31 | It isn't actually a keyboard; remember
it has got all these sliders on it.
| | 01:34 | We will let the pictures go for right now.
| | 01:36 | Here is the hard part; you want to make sure that you
have got the Transmit and Receive channels set properly.
| | 01:41 | The way the Mackie works is you want to click on every
channel except one, so it goes gray, we have turned it off.
| | 01:48 | We only want to transmit on one channel,
but we want to receive on all 16 channels.
| | 01:55 | The check boxes are fine at their default state.
| | 01:58 | So what we have done is we have created a new device, we gave
it a name, you could call it Fred as far as I am concerned.
| | 02:04 | We have one transmit channel and 16 receive channels
and we click Apply and then we close this window.
| | 02:11 | There is our Mackie Control with the fake keyboard.
| | 02:14 | How do we clip them together, we grab these nodes.
| | 02:16 | Now, you noticed there is a down pointing arrow.
| | 02:18 | The down pointing arrow connects to the down pointing arrow.
| | 02:22 | The up pointing arrow connects to the up pointing arrow
by click, hold and dragging out the little patch cable.
| | 02:28 | Now, what we have done is we have connected from the computer
to the E-MU and from the E-MU to the Mackie Control Universal.
| | 02:36 | This has to be done inside Audio MIDI
Setup before we even move to Soundtrack
| | 02:41 | or the computer does know how to talk to the device.
| | 02:43 | Now, here is the secret technique that has driven me
nuts for the last two days as we try to figure this out.
| | 02:50 | In the manual, Apple says that a Control Surface must support
the Mackie control protocol in order to be able to work.
| | 02:57 | Well, that's what the manual says, but the manual is wrong.
| | 03:01 | We have to change the setup from Mackie control
to Logic control, and here is how it works.
| | 03:08 | I have asked our gallant model, Scott,
to step in and change the actual setting.
| | 03:12 | Notice that he reaches around behind and
turns on the power switch while holding
| | 03:16 | down the select buttons for the first two tracks of the mixer.
| | 03:21 | After holding this down for what seems like an eternity,
we see a display across the top that allows us to select
| | 03:26 | between the Mackie control protocol, the HUI
control protocol, and the Logic control protocol.
| | 03:33 | Reaching over with one of his delicate
fingers, he pushes down on the V7 pot,
| | 03:36 | which turns it into a switch, and he
selects "ta-da", the Logic protocol.
| | 03:41 | Once that part is done, he lets go
of everything and the system boots up
| | 03:46 | and now our Control Surface is emulating a Logic controller.
| | 03:50 | Well, once that's done, let's turn on the doc and let's move
over to Soundtrack and we will finish the configuration process.
| | 03:57 | By now, you have probably about 17 pages of
notes, but we are really close to the end.
| | 04:01 | So, hang on, it gets really cool very quickly.
| | 04:03 | Let's go up to Preferences; Soundtrack Pro,
Preferences and we click on Control Surfaces.
| | 04:08 | Notice that there is no Control Surface here.
| | 04:10 | To add a Control Surface, you go down and click the '+' key and
it looks around and says hey, I have got a system that I found.
| | 04:16 | Yes, it says Mackie Control.
| | 04:18 | Don't argue with it; just let it be happy with that.
| | 04:21 | It's seeing the E-MU MIDI controller
so all of those defaults are correct
| | 04:24 | because we configured those before we even started Soundtrack.
| | 04:27 | When we click OK, hoodie kazootie, look at that.
| | 04:30 | The Control Surface shows up, and notice the blue
square, it's selected inside the Preference setting.
| | 04:36 | If we want it to, we could click Control Surface
buttons and this is how we are able to map,
| | 04:40 | for instance, a particular button to the Control Surface.
| | 04:43 | Let's say that you wanted to set a marker at the playhead and you
want to map that to the F1 button, simply grab the Set Marker,
| | 04:50 | drag it up to the F1 button and now whenever you push the F1
button on the Control Surface, it sets a marker at the playhead.
| | 04:57 | If you don't want it there, then just simply drag it out
or actually hit the Delete key, it will be disappeared.
| | 05:03 | So we can assign buttons but we are not
going to get that bothered at this moment.
| | 05:07 | Once we have got this selected, we'll close this window.
| | 05:11 | Let's add some ambience.
| | 05:12 | I think an airport sound would be perfect.
| | 05:14 | So, we will add some airport sound here.
| | 05:17 | There is airport sound.
| | 05:19 | Now, we are looking at the Control Surface and notice
that the mixers are all up at the zero position.
| | 05:24 | If I click the Play button, notice that I
am seeing timecode on the Control Surface.
| | 05:31 | If I hit the Stop button, I am seeing
timecode stop on the Control Surface.
| | 05:35 | If I grab a fader handle and drag a
fader handle up or down on the software,
| | 05:39 | the fader handle goes up or down on the Control Surface.
| | 05:42 | If I jump around, as I jump around, the
timecode changes on the Control Surface.
| | 05:47 | In other words, I am able to drive Soundtrack
by moving the faders on the Control Surface.
| | 05:53 | Now, I would be on the Control Surface moving a fader, but
it's sort of hard to record and to do that at the same time,
| | 05:58 | but the whole idea is to be able to move from a
single-function mouse-driven audio-mixing environment
| | 06:05 | into a multi-track multi-finger multi-handed approach,
the way that we would do mixing inside a larger studio.
| | 06:12 | Soundtrack supports it, once you know how to set this up.
| | 06:15 | By the way, I want to give a big tip of
the hat to Rebecca up at Mackie Systems
| | 06:19 | for giving us all the necessary guidance to make this thing work.
| | 06:21 | It has taken a little bit of time to put all
the pieces together but now you have seen it.
| | 06:25 | It is very cool and you can play with it yourself.
| | Collapse this transcript |
| Setting system preferences: Video Out/In tab| 00:00 | The final preference is Video Out.
| | 00:02 | This controls where we watch the
video or we are mixing the audio.
| | 00:06 | By default, we are able to see the video in the small
video window as part of the Soundtrack Pro interface.
| | 00:12 | But we do have options.
| | 00:13 | For instance, if I have a two-monitor display, it would make
sense for me to feed the video over to a second monitor just
| | 00:19 | so I have got more real estate here to
play with other controls inside Soundtrack.
| | 00:24 | I control that from my Video Output device.
| | 00:26 | To send your video to your preview monitor,
set Digital Cinema Desktop Preview on.
| | 00:31 | This is exactly the same four choices that we have in Video
Playback inside Final Cut and they work exactly the same.
| | 00:38 | If you have a Capture Card or if you have got
another connection device; a Matrox MXO, an AJA Card,
| | 00:43 | a Blackmagic Card where you are able to take the video out
of your computer and feed it to a video monitor as oppose
| | 00:49 | to a computer monitor, those choices will show
up here as well and you are able to select them.
| | 00:53 | When Video Output is set to None, it simply means that you
are going to be able to see video only inside this video tab
| | 01:01 | as suppose to an external video monitor;
either a computer display or a video screen.
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| Finding and organizing loop libraries| 00:00 | Soundtracks ships with thousands and thousands of sound
effects and music loops and music beds and they are stored not
| | 00:08 | with Soundtrack itself but generally stored
somewhere else; either on a 2nd Hard Drive
| | 00:13 | that you specify or in the Library folder by default.
| | 00:17 | Now, most of the time those loops are
perfectly okay, but sometimes they get lost.
| | 00:21 | Either because the hard disk wasn't mounted on your system or
you renamed a folder or somebody else is using your computer.
| | 00:27 | For whatever reason, sometimes when you go to find a file,
| | 00:31 | instead of it all coming up in black
text, it comes up with red text.
| | 00:35 | Red means that Soundtrack Pro knows the file
exits, but doesn't know where the file is.
| | 00:41 | So, here is how you reconnect to the loops that
you installed when you installed Soundtrack.
| | 00:45 | You go to the right hand pane, and
if the Right Pane is not showing,
| | 00:48 | click the Right Pane button up here in the top right corner.
| | 00:52 | Make sure you are on the Search tab, and click the Setup button.
| | 00:56 | When you click the Setup button, it pops up a list of
all the different libraries the Soundtrack knows about.
| | 01:01 | Now, there should be three things here, and we have only got one.
| | 01:04 | If we needed to delete a library, simply
highlight the library you need to delete.
| | 01:08 | Say the one that's red which means it can't find that library.
| | 01:12 | Hit the '-' button; to add new libraries, click the '+' button.
| | 01:17 | Libraries, by default, are stored on your boot
disk in the Library folder, in the Audio folder,
| | 01:25 | in the Apple Loops folder, in an Apple folder.
| | 01:30 | There is the three loops that are shipped with Soundtrack; loops
for GarageBand, loops for Soundtrack Pro and Sound Effects.
| | 01:38 | Now, it would be nice if we could select all
three of these folders at one time, but we can't.
| | 01:42 | So, I am going to select this first one and say
Open, and hit the '+' key, add the second folder.
| | 01:48 | Hit the '+' key and add the third folder.
| | 01:51 | Now, I have added all three of these loops,
but notice over here that they are not indexed
| | 01:57 | and the size indicates how many files are inside each one.
| | 02:00 | Now, there is thousands of files here.
| | 02:03 | So, in order for you to make Soundtrack aware of what
those files are, we need to click the Index Now button.
| | 02:10 | When we do, it goes off indexing all of
the different files that it can find.
| | 02:15 | There is only 418 files, so that one is indexed.
| | 02:18 | So, let's select this one.
| | 02:19 | Say, index that one.
| | 02:21 | It's going to find almost 1200 files.
| | 02:25 | Then we click on this one and it's
going to find almost 7000 files.
| | 02:30 | Bunches and bunches; more than one click now, Index Now.
| | 02:36 | Now, it goes off to find, in this case, 6300 files.
| | 02:39 | So, there is thousands and thousands
of loops that ship with Soundtrack.
| | 02:44 | Most of the time they will link up
perfectly and you don't have a problem.
| | 02:47 | But if you ever end up with something which has got red
text down here, it means that Soundtrack can't find it.
| | 02:54 | To help it, you click the Setup command,
add the library and then index it.
| | 03:00 | Once you are done with the indexing process, you
just need to click Done and we are almost done here.
| | 03:07 | We will just wait for it to finish and we click Done.
| | 03:11 | Now, we have got all of our files indexed.
| | 03:13 | If you were to buy new libraries that work with Soundtrack,
you would add the new libraries exactly the same way;
| | 03:19 | copy them to your hard disk and then click
the Setup button and add the new library.
| | 03:23 | There is one more thing to talk about as we get our system setup.
| | 03:26 | That's what happens when Soundtrack
is just not paying attention to you.
| | 03:30 | That's generally caused by preference files that have
gone bad and I will show you how to fix that next.
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| Trashing preferences| 00:00 | In general, you don't need to trash your
Soundtrack preferences anywhere near as often
| | 00:04 | as you trash your preferences inside Final Cut.
| | 00:07 | But the process is similar, fortunately,
there is just a fewer files.
| | 00:10 | The number one rule to keep in mind about trashing preferences is
never ever have Soundtrack Pro running when you trash, perhaps.
| | 00:17 | Then, once you've quit Soundtrack and you go on to the
Finder, type Shift + Command + H as in the home directory.
| | 00:25 | This opens up your home directory.
| | 00:27 | It saves a whole lot of mousing around.
| | 00:29 | Then you go inside the Library folder
and inside the Library folder,
| | 00:34 | you scroll up and down until you come to a Preferences folder.
| | 00:39 | Then change the Preferences folder so it displays as list view.
| | 00:47 | Your preference file is com.apple.soundtrackpro.plist.
| | 00:54 | I have highlighted right here.
| | 00:55 | com.apple.soundtrackpro.plist.
| | 01:00 | Ctrl-click on it and move it to the trash or delete
it however you like to delete files from your system.
| | 01:06 | If you noticed farther down, there is a folder
called Soundtrack, leave these files alone.
| | 01:13 | All four of those files relate to the indexes that
you have created when you were reconnecting your loops
| | 01:20 | and these are much easier to maintain
inside Soundtrack then deleting them here.
| | 01:25 | So, leave the Soundtrack folder alone and leave
the contents of the Soundtrack folder alone.
| | 01:31 | Just trash the preferences in the preferences window.
| | 01:34 | That's com.apple.soundtrackpro.plist.
| | 01:37 | Once you have trashed that file, go up
to the Finder menu and empty the trash.
| | 01:43 | It is not enough to simply delete them; you
need to take them off your hard disk entirely.
| | 01:48 | So, Finder, Empty Trash and then you are done.
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|
4. Opening and Saving FilesOpening and saving files| 00:00 | Before we get carried away looking at specifics inside
Soundtrack, let us cover up on few of the most important things
| | 00:06 | like how you open it up and how you save files.
| | 00:09 | So, in this section I'll show you how to open Soundtrack Pro 2?
| | 00:12 | How to open a file?
| | 00:14 | How to save a file using Save, Save As,
Save a Copy As and Save as AppleScript?
| | 00:20 | I'll illustrate where you can save your files and
just as a critically important note, it is a really,
| | 00:26 | really good practice to save your work
frequently; when in doubt, save it.
| | 00:31 | Let's start first with how we open Soundtrack Pro 2.
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| Opening files| 00:00 | Before we actually open the soundtrack, we should properly
decide where we want to store the files which Soundtrack creates.
| | 00:07 | We have already talked about setting
preference files, but for me,
| | 00:10 | I also have a folder where I keep my Soundtrack
project files and it's always on my 2nd drive.
| | 00:15 | So, I am going to open up the 2nd drive.
| | 00:17 | I am going to create a new folder, Shift-Command-N
and I am going to call this 'STP Projects'.
| | 00:24 | Now inside the STP Projects is where I am going to
put the project files that I create within Soundtrack.
| | 00:30 | Now if you have access to the exercise files with this training,
| | 00:33 | you'll see that there is a folder
called 'Soundtrack Pro 2 Assets'
| | 00:37 | and that's exactly what I did is I created project files here
and, just make that disappear; and the Media files are over here.
| | 00:45 | For me, having all of my files in one place and organize,
makes a lot of sense and this is a way that you can work.
| | 00:52 | For instance, here I am going to take this project file.
| | 00:55 | Click the Resize button, make it small or get it out
of the way and I am just going to make a copy of it
| | 01:00 | by holding the Option key down and drag it out
of where it was into my new STP Projects folder
| | 01:06 | and so there is a project that I can open up.
| | 01:10 | And we'll see why in just a second.
| | 01:12 | There are multiple ways that we can open Soundtrack.
| | 01:15 | One is, we could go to the Applications folder, Shift-Command-A;
scroll around until we find Soundtrack and double click it.
| | 01:23 | But that strikes me as a lot of work because I
have got to open a folder and find Soundtrack.
| | 01:28 | Many times, it's easier just to take
Soundtrack and put it on the dock.
| | 01:31 | Click and hold the icon, drag it over and put
it where you want it to go inside the dock.
| | 01:36 | I'll put it right there.
| | 01:37 | Now I could start Soundtrack simply
by clicking once on that dock icon
| | 01:41 | or double clicking inside the Application
icon and Soundtrack starts.
| | 01:45 | Cool, but almost never the way that I work.
| | 01:48 | Instead, I most often go to my Projects folder,
which is why I created it a few seconds ago
| | 01:54 | and I double click the project that I want to edit.
| | 01:56 | This works exactly the same as opening
a project inside the final cut.
| | 02:01 | And after a few seconds, Soundtrack
opens up and loads my project inside it.
| | 02:06 | Now because I am on a very constrained screen, the dock is
taking up a lot of real estates, so I'll type Option-Command-D,
| | 02:12 | make the dock disappear and press the F1 key.
| | 02:16 | And now I have got Soundtrack opened to its
default layout and I am ready to start work.
| | 02:21 | But what happens if now I have made
some changes and I want to save them?
| | 02:24 | We will talk about saving our projects in the next movie.
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| Saving files| 00:00 | Once you have made some changes to your file, it's time to
save because clearly you want to keep them but there is a lot
| | 00:06 | of save options, in fact, there are
four; so which ones would you use?
| | 00:11 | Let's just create ourselves a new project here.
| | 00:14 | Notice that there is nothing in it and we go up to
File, Save, what it does is it opens up a dialog
| | 00:20 | that gives us a chance to pick the location of our file.
| | 00:22 | Notice it's going in the Project Files folder and give it a name.
| | 00:26 | All very well and good and it saves the
instructions on how our audio gets edited
| | 00:30 | without actually saving into the audio files themselves.
| | 00:34 | Once you have actually started to work on a project,
something that's more useful, at least for me, is 'Save As'.
| | 00:40 | Let me illustrate.
| | 00:41 | When we go to 'Save As', it gives us some more choices.
| | 00:43 | One, I can change the name or I could change
the location; but look at this stuff down here.
| | 00:49 | What Save Compacted does is it saves a smaller version of
the project by deleting some of the display information.
| | 00:56 | It makes your project fit in smaller space,
but it takes longer for the project to open up.
| | 01:02 | Most of the time, I don't use that but I do use Collect Audio
Files because Soundtrack records files in a variety of places,
| | 01:10 | some of which you can set and some of which you
can't, in a variety of places around your hard disk.
| | 01:15 | What I like to do is I like to put them all in one spot, get
them all collected that way if I need to burn them to a disk
| | 01:21 | for backup or send them to somewhere else,
all of my files are stored in the same folder.
| | 01:26 | So collecting audio files takes all the files
that I am using and gathers them together
| | 01:31 | into a Media folder stored at the same level as my project.
| | 01:34 | If I have files that are stored inside my system but are not
used in the timeline similar to files being used in the browser
| | 01:42 | but not in the timeline in final cut and you want to
keep those, then you would Collect Unused Audio Files.
| | 01:48 | Collecting audio files with this unchecked only collects the
files that are in your audio file project or in your timeline.
| | 01:55 | With this checked, it collects all the files
that you have in the bins inside Soundtrack.
| | 02:00 | And we will be talking more about bins
when we get to multi-track projects.
| | 02:03 | If you want the video files stored as well as
the audio files, then you would turn this on.
| | 02:07 | But video files can be huge and many times
we are just using them for a reference
| | 02:11 | and many times you don't want to
duplicate all that extra disk space.
| | 02:15 | So at the minimum, what I'll do is I'll turn this on,
turn these two off because that way all of the audio,
| | 02:20 | all the recording that I am doing; all of my files are now
stored in the Media folder which is next to the Project folder.
| | 02:27 | This button down here, as in all save boxes, allows us to
create a new folder for storing all of our material in.
| | 02:33 | The nice thing is this that once I have saved it this way,
Soundtrack remembers these settings and as I add new files,
| | 02:39 | they automatically get saved and collected and put into
that Media folder which is stored next to my Project folder.
| | 02:45 | It makes the whole process of managing,
all the different elements
| | 02:49 | that you are working with inside Soundtrack, a lot easier.
| | 02:53 | If you need to make a copy of a file,
then you would Save a Copy As.
| | 02:57 | An AppleScript is a special way of saving specific actions
that you have taken especially in an audio file project
| | 03:04 | as an AppleScript which can be executed not only from
within Soundtrack but also from within Final Cut Pro.
| | 03:10 | I want to talk specifically about this saving as
an AppleScript in the chapter where we are talking
| | 03:14 | about AppleScripts and Soundtrack Pro scripts.
| | 03:17 | So, I'll just acknowledge it here and refer you to
the scripting chapter for more detailed information.
| | 03:23 | Now that you know how Soundtrack can open
itself and open files and save files,
| | 03:27 | it's time to get to work, and that's what we'll do next.
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|
5. Round-Tripping with Final Cut ProRound-tripping| 00:00 | This chapter talks about round-tripping with Final Cut Pro.
| | 00:04 | Round-tripping is the process of easily
getting files from Final Cut to Soundtrack,
| | 00:08 | processing them in Soundtrack and
then bringing them back to Final Cut.
| | 00:12 | There are two types of Soundtrack Pro projects.
| | 00:14 | There is an audio file which is just one clip, and there is
a Multitrack Project which can be one or many more clips.
| | 00:22 | Sending to Soundtrack Pro maintains a dynamic
link between Final Cut and Soundtrack.
| | 00:29 | If we were to export from Final Cut then
there is no dynamic reciprocal link.
| | 00:34 | There are two ways that we can send files.
| | 00:36 | We could send a clip or clips from the Final Cut timeline
or we could send an entire sequence from the browser.
| | 00:43 | There are advantages to each, we'll talk about both.
| | 00:47 | Finally, getting your finished files back into Final
Cut will be covered in the lessons on export,
| | 00:52 | because there is multiple different ways that this can be done.
| | 00:55 | The short answer though just for this introduction
is that if you send to an audio file project,
| | 01:01 | then you save it to get it back into Final Cut.
| | 01:04 | If you send to a Multitrack Project then
you export it to get it back into Final Cut.
| | 01:10 | But before we can do sending, we need to get our audio
prep inside Final Cut, and a really good technique
| | 01:17 | to follow is a process called Checkerboarding.
| | 01:20 | Checkerboarding is the process of putting similar audio on the
same track in Final Cut, which can simplify your mixing either
| | 01:28 | in Soundtrack Pro which we are talking about here
or any digital audio system such as Pro Tools.
| | 01:34 | Here is a 12 track sample checkerboard
that I tend to follow pretty religiously.
| | 01:38 | On track A1 in Final Cut, I am going to put the sync sound
from my talking head on V1, that's channel 1 goes on A1.
| | 01:46 | The second channel goes on A2.
| | 01:47 | This is exactly how Final Cut likes to
work, video on V1, audio on A1 and A2.
| | 01:52 | On A3 and A4, put your natural sound from your B-roll.
| | 01:57 | This is because Final Cut likes putting
B-roll on V2, your natural sound on A3 and A4.
| | 02:03 | Then your Narrator is always a solo mike
because it's just one person talking,
| | 02:07 | you don't need a stereo clip, so A5 is my Narrator.
| | 02:10 | A6, A7, and A8 are where I put sound effects, because if I
buy a sound effect, it's going to be a single mono roll clip,
| | 02:17 | that I can control the panning on and if I record my
sound effects, I am going to be recording them in stereo.
| | 02:23 | So, I have multiple tracks that I can put
my sound effects on with A6, A7, and A8.
| | 02:28 | Then my first Music Cue goes on A9 and A10
and my second Music Cue goes on A11 and A12.
| | 02:35 | The reason for this is that I can not do a slow fadeout
on one piece of music while I do a quick fade-in
| | 02:42 | on the second piece of music on the same track.
| | 02:45 | It's called an asymmetric fade; I can
only have my fades go symmetrically.
| | 02:49 | So, because I often times want to have my music slowly
fade on one track and quickly ramp up on the other
| | 02:56 | when I need to put them on two separate tracks.
| | 02:58 | So, my first Music Cue goes on A9 and A10
and my second Music Cue goes on A11 and A12.
| | 03:04 | What this does is this makes the process of organizing my audio
easy in Final Cut because I've got to store the audio somewhere,
| | 03:11 | and it also simplifies the process of mixing inside
Soundtrack Pro because all of my cues are track based,
| | 03:18 | and by having all the same audio on the same
track, it makes the process of mixing much easier.
| | 03:24 | Well, what that is an organizational idea.
| | 03:26 | Let's take a look it how we are going to get a project out of
Final Cut in to Soundtrack, and we'll start with the simple one
| | 03:33 | which is a single clip and we'll work with something much
more complex which is multiple tracks from multiple clips.
| | 03:39 | That's next.
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| Sending single clips to Soundtrack Pro from Final Cut Pro| 00:00 | Here is a typical example of the single clip.
| | 00:02 | I've created a Final Cut project called 01 (FCP)
Talking head and inside we have one of the pilots
| | 00:08 | of the Red Baron, Aerial Acrobatic Team talking.
| | 00:11 | When we listen to him talk, notice
that the audio level is way low,
| | 00:16 | we can barely hear what he is saying,
we've got to do some work on this.
| | 00:20 | Now, we could in fact do this as part of the
mix, but maybe we've got some noise that we want
| | 00:24 | to get rid of or some hum that we want to get rid of.
| | 00:27 | So, what I want to do is I want to spend time working
on just that one clip before it goes into the whole mix.
| | 00:33 | There is a couple of different ways that we could
get it into Soundtrack, and some of these are legacy.
| | 00:38 | For instance, when Soundtrack first shipped back with Final
Cut 4, the only way that we could get project information
| | 00:44 | out of Final Cut into Soundtrack would
be to go to Export, For Soundtrack.
| | 00:49 | Now, this is an old fashioned way of getting it to Soundtrack.
| | 00:52 | The problem is as soon as I export, I lose any kind of
dynamic connection between the file inside Final Cut
| | 00:58 | and the file inside Soundtrack, and I really
do like the idea of being able to make a change
| | 01:03 | and have it instantly reflected back in the other application.
| | 01:06 | I could export it as an AIF because that gets my audio
out of Final Cut at the highest possible quality,
| | 01:12 | but that too doesn't have any kind of dynamic link.
| | 01:16 | So, it's not the benefit that it used to be
back in earlier versions of both software.
| | 01:20 | Instead we want to take advantage of a
new facility which is called Sending.
| | 01:24 | Now, there is several ways that we can send but I
am going to start here and show you two of them.
| | 01:29 | The first is I select the clip that I want to send to
Soundtrack and then I go up to File, and go down to Send To.
| | 01:37 | Now notice all the choices that I have here, I could send
it to a Motion Project or a Soundtrack Audio File Project,
| | 01:44 | a Multitrack Project or a Script or
I could send it to Shake or to Color.
| | 01:49 | We are going to be concentrating just on
Soundtrack in this title because that's enough
| | 01:53 | for us to talk about in one piece of training.
| | 01:55 | So we're going to ignore the others.
| | 01:57 | If I send it to a Soundtrack Audio File Project
which is the first thing that I am going to do,
| | 02:03 | it opens up a dialog which says "Where do you want to save this?"
| | 02:06 | Now this file now becomes a permanent
part of your Final Cut project.
| | 02:11 | So, you want to put this for your storing the rest of
your project media, generally inside the project folder
| | 02:16 | that you are storing all the rest of your
project assets for your Final Cut project,
| | 02:20 | and you need to give it a name that would make sense.
| | 02:22 | By default, it accepts the name of the clip but maybe you want
to call it something different and the word 'sent' is added
| | 02:29 | to indicate that you have sent this over to Soundtrack.
| | 02:32 | You can totally change this if you want and for me for this,
I am just going to leave this alone and I am going to store it
| | 02:37 | to the Desktop because I don't have any interest
in retaining it after this training is done.
| | 02:43 | I am just using it as an illustration for here.
| | 02:45 | But again remember that you would normally
want to store this inside your project folder
| | 02:49 | as you store all the rest of the
assets of what you are working on.
| | 02:52 | The default settings are correct; you are
also able to only send referenced media.
| | 02:57 | This would be useful, say if you've got really, really big files
and you don't want to copy them and you can specify the size
| | 03:03 | of your handles both at the beginning and the end.
| | 03:06 | In general, however, especially if this file is going to
be opened on other computers then you want to make sure
| | 03:11 | that you send the entire file and not just referenced media.
| | 03:14 | For now these defaults are all fine, we click
Save and it automatically opens up Soundtrack,
| | 03:20 | and notice that it's loaded the clip
up and it's marked the in and the out.
| | 03:25 | I just type this Right Pane here.
| | 03:28 | This is the entire clip but it carefully marks the in and out
so I can see exactly what I am working with that's with this bar
| | 03:35 | up here represents and here is an interesting mouse shortcut.
| | 03:38 | Whenever you double-click inside a waveform, Soundtrack will
automatically select all the information between two markers.
| | 03:45 | So here I've got a marker for the in and a marker for the end.
| | 03:48 | If I didn't want to work on the entire clip, I just
wanted to process from the in to the out, double-click,
| | 03:54 | that selects the region that you want to
work on, you can go ahead and work on it.
| | 03:57 | Now, the whole next chapter is devoted to repairing audio.
| | 04:01 | So, I am not going to talk about repairing this audio now,
I just want to talked about how to get it into Final Cut
| | 04:07 | and just because we are here, let's pretend all of our work is
done, let's pretend we are ready to get it back to Final Cut.
| | 04:12 | Because it was sent to some audio file
clip, all I have to do is to save it.
| | 04:18 | The instant I save it, all of my changes
are instantly ripple back to Final Cut
| | 04:23 | and instantly made a part of that Final Cut project.
| | 04:27 | So when I am working with a single audio file, I send it
from Final Cut and I save it to get it back to Final Cut
| | 04:35 | from Soundtrack, but there are still more ways that we can send.
| | 04:39 | I want to talk about that in our next movie.
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| More sending options| 00:00 | Now it's a true statement that Soundtrack Pro 2 only
allows one file at a time in an audio file project.
| | 00:07 | But they've added a couple of new enhancements in the latest
version of Soundtrack, which can make our lives a lot easier.
| | 00:12 | For instance here, notice that I've
got our Talking head on A1 and A2
| | 00:18 | and I've added some B roll of the
planes flying over on A3 and A4.
| | 00:24 | If you count we've got multiple audio tracks here,
I've got one stereo pair and a second stereo pair,
| | 00:29 | we know it's a stereo pair because of the green bowties there.
| | 00:32 | If I select this and go to File, Send, in the past,
this would be grade out because I am sending more
| | 00:39 | than one audio file to an audio file project.
| | 00:42 | But watch what happens in Soundtrack Pro now.
| | 00:45 | I select this, it says, where do you want the project to be?
| | 00:48 | Again I would normally save it into my project folder
but because I am going to clean this up immediately
| | 00:53 | after training is done, I am going to save it to the desktop.
| | 00:56 | When I click Open watch what happens.
| | 00:59 | It loads two audio file projects, there is our first clip in its
audio file marked with its in and out and here's the second clip
| | 01:08 | in its audio file marked with its in and out.
| | 01:10 | I can still only have one clip in an audio file project but I can
now instantly export multiple clips into an audio file project
| | 01:19 | for processing, noise removal and ambient noise, getting rid
of clicks and pops and hum and this makes life a lot easier
| | 01:26 | because now I don't have to worry about while you've
all got two clips selected or only clip selected, very,
| | 01:31 | very cool stuff, and its now part of Soundtrack Pro 2.
| | 01:36 | The process of how you work with them once
their inside Soundtrack hasn't changed,
| | 01:40 | what we are able to do though is we are able to take advantage
of sending multiple files to audio projects at the same time.
| | 01:46 | By the way here's a neat shortcut, if we switch back to
Final Cut, what we've done so far as we select the clips
| | 01:53 | and we go up to File, Send To, but
there is a nice right mouse click.
| | 01:57 | If you right mouse click on a file, notice the Send Menu
is right here, it can send whatever you need to send it to,
| | 02:04 | either by clicking on a single clip, that sends that one clip or
select all the clips and Ctrl-click on it or right mouse button,
| | 02:12 | it's the same thing, Ctrl-click and the right
mouse click, send it to an audio file project.
| | 02:17 | Sending is the process of getting your files out of Final
Cut and getting them into Soundtrack Pro, and again,
| | 02:25 | if it's an audio file project, we get it back by
saving it, we'll see more of that little bit later.
| | 02:30 | But what happens if I want to do a mix and a
mix with lots and lots of different clips in it.
| | 02:34 | Well, that's a different kind of send.
| | 02:36 | We'll talk about that next.
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| Sending multitrack clips to Soundtrack Pro from Final Cut Pro| 00:00 | Just as there are multiple ways for us to send single files
to an audio file project, there are also multiple ways
| | 00:06 | that we can send a group of profiles to a
Multitrack Project and generally we send
| | 00:10 | to a Multitrack Project because we are ready for a mix.
| | 00:14 | Now in Soundtrack Pro 1, the way that
I've found the most reliable would be
| | 00:18 | to select all the clips in the timeline
and send from the timeline.
| | 00:22 | In Soundtrack Pro 2 however, although, this option is always
existed, the recommendation is now that you grab the clip up here
| | 00:29 | in the browser and you send the entire sequence.
| | 00:31 | We can go to File, Send To.
| | 00:34 | Notice that the audio file is grade out
because there are multiple clips here.
| | 00:38 | So it only gives us the option to send to a Multitrack Project.
| | 00:42 | Just to illustrate a couple of other ways we could
do this, we could also Ctrl-click on this clip,
| | 00:47 | send it to a Multitrack Project, or we could go down
to the timeline Command+A to select all the clips,
| | 00:54 | Ctrl-click and send to a Multitrack Project or we could
send each individual clip to its own audio file project,
| | 01:02 | say for noise processing or something else or with
all those clips selected and the timeline active,
| | 01:08 | we could go up to File, Send To and we've got the same options.
| | 01:13 | In general however, our goal is to avoid confusion and
the easiest way to avoid confusion is if you are going
| | 01:20 | to send individual clips to an audio file
project, send them out of the timeline.
| | 01:25 | To avoid confusion, take your sequences when they are ready for
mixing, highlight them and do File, Send To a Multitrack Project,
| | 01:33 | or Ctrl-click on them inside the browser
and send them to a Multitrack Project.
| | 01:39 | Although you have multiple ways of doing this, the key goal here
is to make sure you send it to the right place at the right time.
| | 01:46 | When we send this to a Multitrack
Project, some options suggest themselves.
| | 01:50 | This is our standard save dialog; it may look like this on your
system if you need to see the bigger form, click this twirl down
| | 01:58 | and it opens up the navigation dialog,
we'll just twirl this back again.
| | 02:02 | Normally I would save this inside my project folder because
I am going to need this for the rest of my Final Cut Project
| | 02:09 | because this will ultimately contain my final mix, but
in my case because it has a half-life of a fruit-fly,
| | 02:14 | I am not going to bother to keep it very long,
I am just going to store it to the desktop.
| | 02:18 | If you want Soundtrack to open and
this first choice needs to be set.
| | 02:23 | If you're just going to send it, but open it later, uncheck it.
| | 02:26 | In order for the links to remain dynamic, both Soundtrack Pro
and Final Cut have to remain open during the entire process.
| | 02:34 | In this particular case, maybe you've got say
four or five projects that you want to make,
| | 02:39 | see you just want to export them all at one time, you
don't want Soundtrack to open, you would uncheck this.
| | 02:44 | If you want it to build the background video, so you can watch
the pictures while you're doing your mixes then this needs
| | 02:49 | to be checked.
| | 02:51 | If you don't care about the quality of your video then
just leave it to base layer and most of the time we don't.
| | 02:56 | We don't need to see extreme high-quality, we're just watching
the video to make sure we hit the timing spots that we need.
| | 03:02 | You want to be sure to save the project with a latest metadata.
| | 03:05 | So my feeling is, most of the time I am going to
leave all these default settings exactly as they are,
| | 03:10 | and the other one that I am going to
toggle will be the Open Soundtrack Pro
| | 03:14 | if I don't want Soundtrack to open at that particular time.
| | 03:17 | Dynamically, whenever you are sending audio files and saving
them, those have to have both Final Cut and Soundtrack open
| | 03:24 | at the same time, with mixes which can take a lot longer, Final
Cut will automatically open Soundtrack and the way that we get it
| | 03:31 | out of Soundtrack is not a save but an export which
we'll talk about toward the end of this training.
| | 03:36 | Feel free to quit Final Cut while you are in the process
of mixing because the mixing can take from several hours
| | 03:42 | to several days depending upon how complex and how long your
projects are coming out of Final Cut, and when you export,
| | 03:50 | Soundtrack is smart enough to know to open
up Final Cut and properly place the file
| | 03:54 | which is what we'll show you a little bit later in this training.
| | 03:57 | Once you've got these settings set the way you want, you click
Save and what happens is, it automatically starts Soundtrack,
| | 04:03 | it automatically builds the video in the background,
it loads the clips and hootie kazootie poof, it's done.
| | 04:10 | The speed with which Soundtrack Pro opens and loads the file is
directly depended upon how complex your video is to compress.
| | 04:18 | If you are working in HD or your project is
extremely long, don't panic, this could take a minute
| | 04:23 | or two while the Final Cut generates the background
video and loads the files into Soundtrack.
| | 04:28 | Sometimes you know, it's time for a copy of coffee.
| | 04:32 | Let's talk about recording, that's next.
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|
|
6. Recording Audio Audio recording overview| 00:00 | In this chapter, we are going to talk about recording
audio, that includes setting levels and inputs.
| | 00:05 | I will show you how to record a single track of
audio and how to record multiple tracks of audio.
| | 00:09 | But before we switch over to Soundtrack, I want to
talk about setting record levels for just a second.
| | 00:14 | Our goal in recording is to record our clips as loudly as possible without
the red clip light lighting because once that red clip light lights,
| | 00:23 | you are distorting your audio damaging,
destroying it actually and it cannot be recovered.
| | 00:28 | So you always want to make sure that the red clip light never lights.
| | 00:32 | Remember, you are going to make all your final
level adjustments during the mixing process.
| | 00:36 | So you want to record everything nice and loud
to give you as much room in mixing as possible.
| | 00:41 | That's what mixing is all about.
| | 00:42 | So all we want to do now is we want to get a good, clean recording that
gives us lots of good audio that we can then set to any level that we need.
| | 00:51 | So a good level to use for recording has your audio
bouncing with the peaks, that is around -6 dB.
| | 00:58 | Now, fist fights and wars have broken out over
the proper audio levels that should be used
| | 01:02 | and you can use your own numbers and match that however you see fit.
| | 01:06 | But a good level just for conversation purposes it will keep you
out of trouble and give you good sound has the peaks around -6.
| | 01:13 | But if you have strongly held personal opinions by all means, follow them.
| | 01:18 | Regardless of how you set your levels, Soundtrack
works the same, and I will show you that next.
| | Collapse this transcript |
| Recording audio| 00:00 | Here's a brand new Soundtrack Pro project and we want to record to it.
| | 00:04 | We have up to 255 tracks that we could record to, but the process is the
same whether I am doing one track or multiple, and here's how it works.
| | 00:14 | The first thing you have to do is to decide
which track you want to record to.
| | 00:17 | In this case, I am going to select track
1, notice that track 1 is highlighted.
| | 00:21 | I don't really need to select it because it's really
controlled by a button that I am going to show you next,
| | 00:26 | but it helps me to remember where the heck it is I am working.
| | 00:29 | In order to arm a track for recording,
we need to click this red record light.
| | 00:33 | Notice that as soon as we do this tab for recording switches on and I am
able to see the volume of my microphone that I am recording on right now.
| | 00:42 | In this particular case, I have only one voice, I have only got one mic
and therefore, I am only recording to one track, the left-hand channel.
| | 00:49 | Inside Soundtrack, each track contains one
clip, but each clip can have up to six tracks.
| | 00:56 | So it can be a mono clip, one track, the stereo clip ,two
tracks, or a 5.1 surround clip, six tracks inside that one clip.
| | 01:05 | The general rule of thumb is if you want the audio and the clip
to be treated equally, then you record all the tracks in one clip.
| | 01:12 | Music is a classic example, the left and right
channel should be recorded in the same clip.
| | 01:17 | But if you want to adjust the audio separately,
say I am doing an interview, for instance,
| | 01:22 | a little later when we talk about editing
multitracks, I have an interview with Bruce Nazarian.
| | 01:26 | I want to treat my voice one way, I want to treat Bruce's voice
a different way, well, there I would want to record a mono sound
| | 01:32 | on two different tracks because I want to process our voices differently.
| | 01:37 | So you have to decide how you want to use
it, Soundtrack will allow you to record one,
| | 01:41 | two or up to six tracks at one time in one clip, and here's how.
| | 01:46 | Once we've armed this for recording, then we move
over to the recording tab, we can check our levels
| | 01:51 | and we would adjust our levels with however
we were feeding audio to our system.
| | 01:54 | For instance, theoretically, I would like to have my audio to be a little
bit hotter, which I would do if I were recording this in real life,
| | 02:01 | but because I am doing the tutorial, I have got
multiple audio levels I have to worry about here.
| | 02:06 | This is where you set the input.
| | 02:08 | Are we bringing the input in from our line or from our digital input?
| | 02:11 | Or if you've got an external device that's connected via FireWire
or USB, that device will show up here and you would select that.
| | 02:19 | For instance, in the tutorials that I do back at the office, I have
got a small Edirol mixer, a UA-25, that gives me stereo feeds in.
| | 02:26 | I would have a Digi OO2 from Pro Tools that gives
me up to 18 tracks in or I could have something
| | 02:32 | from Barringer, which could be up to eight tracks in.
| | 02:35 | In other words, different devices give me different track counts coming
in depending upon how they connect and what kind of devices they are.
| | 02:42 | A USB device would give you two channels of audio in.
| | 02:45 | A FireWire device will give you up to about eight tracks of audio
in and something which attaches via a plugin card to your G5
| | 02:53 | or your Mac Pro could give you as much as 18 or 20 channels of audio in.
| | 02:57 | There is lots of different options.
| | 02:58 | By default, however, USB is two tracks.
| | 03:02 | So once you have set your input, then you have to decide what
do I want to record, do I want to record mono in which case,
| | 03:07 | I now have selected just the first track coming in or do I want to
record stereo or do I want to record any number of tracks up to six?
| | 03:16 | In this particular case, I want to record one track, mono,
and I am just going to have channel one go to this track.
| | 03:23 | You can configure the device, which we are going to
ignore for this moment, and this is how you monitor it.
| | 03:27 | You can say how do I want to hear the sound
coming back out, and this allows you to monitor.
| | 03:32 | I would just mute it so it doesn't play back out again.
| | 03:34 | In our particular case, the monitoring is for me here.
| | 03:38 | Monitoring is handled through the audio board, which is
how I hear what I am recording, so I don't have to monitor.
| | 03:43 | On my system back at the office, I monitor on the same
device that I record, so this gets set to the Edirol mixer.
| | 03:50 | In general, and this is a general statement
and there is lots of exceptions,
| | 03:54 | you would generally monitor to the same
device that you were recording from.
| | 03:58 | So whatever you have selected up here would
be what you would set your monitor to.
| | 04:01 | Again, that's a general goal, it's not hard and fast.
| | 04:04 | Once we have got our levels set, once we have configured our input,
then we have to put our playhead where we want the recording to begin.
| | 04:11 | Most times, we want recording to begin at the beginning.
| | 04:13 | So I'll hit the Home key and begin the recording
by clicking the Record button down here.
| | 04:19 | That red line indicates what I am recording so that
you are able to see that it's actually doing something.
| | 04:24 | But don't panic, you won't see waveforms.
| | 04:26 | Waveforms don't show up until you stop recording.
| | 04:30 | Now hit the spacebar and I will stop recording and notice
those are the waveforms of what I have just recorded.
| | 04:35 | (Recording plays: "That red line indicates
what I am recording so that you are able to see
| | 04:36 | that it's actually doing something, but
don't panic, you won't see waveforms.
| | 04:36 | ") Now, you will notice that that audio was very low
because I was monitoring it on the recording tab.
| | 04:43 | If you want to watch playback, you go to the Meters tab.
| | 04:46 | (Recording plays: "That red line indicates what I am recording so that
you are able to see that it's actually doing something, but don't panic,
| | 04:46 | you won't see waveforms, waveforms don't
show up until you stop recording.") Now okay.
| | 04:47 | So what we were able to do is that we select
in the track that we want to record on.
| | 04:51 | We enabled it or armed it, that's what it's
called, we armed it by turning on this red light.
| | 04:57 | To disarm it, you click the red light again.
| | 05:00 | And now, no matter how many times you click
the Record button, nothing gets recorded.
| | 05:05 | It's a two-step process specifically to prevent the
accidental ratio of tracks which you couldn't get back again.
| | 05:13 | Once we have got the track armed, then we switch over to the recording
tab because it doesn't until you turn on the red record light here,
| | 05:25 | that little arming light, that you are able to monitor your input levels.
| | 05:32 | Select the track.
| | 05:32 | Again, that's simply to remind you which track you are working with.
| | 05:39 | The real magic was when the arming button gets clicked.
| | 05:42 | You set your levels, you set your input.
| | 05:47 | Let's take this one more step further.
| | 05:51 | Let's say that we want to record multiple tracks.
| | 05:53 | So let's say that I wanted to have a conversation between oh, myself
and the ever beautiful Katie that we are looking at from time to time.
| | 06:00 | So Katie is on one mic and I am on a different mic.
| | 06:03 | Now, we are not singing, we are talking.
| | 06:04 | So here I want to record two different tracks because I want
to process her voice one way and my voice a different way.
| | 06:11 | I will just click this clip and hit the Delete key to make it disappear.
| | 06:15 | Now, let's arm two tracks.
| | 06:16 | We will call this track Larry and we will call this track
Katie, and now we have got two people talking at the same time.
| | 06:24 | Hit the Home key so our playhead goes back to the beginning.
| | 06:28 | And now, we have to set the inputs so we know exactly what mic to record.
| | 06:32 | Well, because I am connecting via USB, USB gives me two inputs, so I
am going to say on track one, I am going to have the built-in input,
| | 06:40 | I am going to do mono and I am going to have it go to track one.
| | 06:44 | On track two, I click in it, built-in line input, I am going to have
it be mono, I am going to click on this and set it to track two.
| | 06:52 | Now, on track one, I hear my audio; on track two, I hear Katie's audio.
| | 06:58 | Well, right now, Katie is a figment of my imagination so we are not going
to actually hear her, we are just going to set up as though she were here.
| | 07:05 | So what we have got now is when I hit the Record button by clicking down
here on the red light, my audio will record exclusively on track one,
| | 07:13 | her audio will record exclusively on track two
and I can monitor this as we were recording, okay.
| | 07:19 | So I can switch back and forth.
| | 07:22 | Notice this track popup, I want to listen to the Larry track, that's me
recording; I am going to listen to the Katie track, that's Katie talking.
| | 07:29 | So I switch between tracks from this popup and I
configure the inputs from this set of buttons here.
| | 07:35 | And notice, there is my voice, there is the waveform.
| | 07:37 | Remember, you don't see the waveform when you are
recording, you only see the waveform when you are done.
| | 07:42 | And as you can see, Katie just didn't show up for
her interview so she was especially quite today.
| | 07:49 | So whether we are recording on one track or two tracks or
even multiple tracks if your hardware device supports it,
| | 07:55 | it's always set up the same way; arm the track, set your
input, set your levels and then continue doing that over
| | 08:01 | and over until you have covered all the tracks that you want to record on.
| | 08:04 | If you are recording stereo, then you would
simply record two channels into the same clip.
| | 08:09 | You don't have to have one track per clip,
which is what Final Cut requires.
| | 08:13 | Soundtrack will give you up to six tracks per
clip depending upon what your input source is.
| | 08:18 | Remember, for more than two tracks, you are going to need
to have an additional hardware support, USB won't support it
| | 08:23 | and your built-in microphone plug on your Macintosh won't
support it, so you will have to have some sort of external device
| | 08:29 | to allow you to have more than two tracks coming in.
| | 08:32 | Oh, and there is one more thing we can
do and that's called Punch Recording.
| | 08:35 | I will show that you to next.
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| Punch recording| 00:00 | There is one more kind of recording and that's called a Punch
Record or an ability to record in the middle of something.
| | 00:06 | There are two specialized kinds of recording: one is a Punch Record,
which is an old fashion way, and the other is using a Cycle Region.
| | 00:13 | Let me illustrate both of these.
| | 00:15 | For instance here, we have got our hostess of the wine garden.
| | 00:18 | (Clip plays: Now, it may look like I am out of vineyard, but I am actually
at home in Westlake, California to show you how to make homemade wine.)
| | 00:18 | And what I have decided is I want to illustrate
where Westlake, California is.
| | 00:31 | So I am going to do a Punch Record where she says Westlake, California.
| | 00:35 | I am going to record starting right here.
| | 00:36 | Now, there is two ways that you could do this.
| | 00:38 | One is to record do a whole separate track which would be my
normal way of working because it gies me the maximum flexibility.
| | 00:45 | But let's say you are running low on track so you are just plain in a hurry
for whatever reason, we can do a Punch Record and here's how it works.
| | 00:52 | You arm the track for recording because you have to
tell soundtrack what track it's going to record on.
| | 00:56 | We will put our playhead before the point we want to add it.
| | 00:59 | These are called Markers.
| | 01:01 | We have got a whole lot of discussion on Markers
coming up a little later in this training.
| | 01:05 | For right now, the only reason I put them here is
to remind me of where I want to start and stop.
| | 01:10 | Markers are absolutely not necessary for Punch Recording.
| | 01:14 | It's just because I have a short memory.
| | 01:16 | So I have configured my input.
| | 01:18 | I am all set to go.
| | 01:19 | I am going to play this by hitting the spacebar.
| | 01:21 | At the moment, my playhead hits the first marker, I am going to
click the Record button and narrate something in the sidewall.
| | 01:27 | Then, I am going to click the Record button
when I get to the second marker.
| | 01:30 | I myself am turning the recording on.
| | 01:33 | I am punching it in and I am punching it out.
| | 01:37 | Here we go.
| | 01:37 | (Clip plays: ...actually at home in Westlake,
California...) (Larry Jordan: ...which is located Northwest
| | 01:38 | of L.A...) (Clip plays: ....to show you how to make homemade wine.
| | 01:38 | So let's go to...) So what I did is I hit the Record button
to punch me in, I hit the Record button to punch me out.
| | 01:49 | I now have a clip which is actually living on top of the clips below it.
| | 01:54 | I haven't destroyed the audio of her talking,
I have simply dropped a clip on top of it.
| | 01:59 | And as in Final Cut, whenever a clip is on top of a clip below it
in the same track, then Soundtrack doesn't play the bottom clip.
| | 02:09 | Take a listen.
| | 02:12 | (Clip plays: ...actually at home in Westlake,
California, which is located northwest of LA,
| | 02:12 | so let's go take a look.) So what we have done is we have done a punch in,
but the nice thing is it's not permanent, I still have my underlying track.
| | 02:21 | I could pull this down to a second track if I wanted to do that.
| | 02:24 | I could actually delete it.
| | 02:26 | So it's all the benefits of Punch Recording, then you are able to
insert right into the middle of something with none of the detriments
| | 02:32 | of the old fashion analog system because if you miss
the punch, then you would just screw the whole tape.
| | 02:36 | Here in our case, we've got plenty of room
to make changes if we wanted to do that.
| | 02:40 | Another way that we could do a record is by setting up a Cycle Region.
| | 02:44 | Again, we have more on Cycle Regions, but a
Cycle Region is an area where stuff repeats.
| | 02:50 | And so here, I want to record just inside the Cycle Region.
| | 02:53 | I want to put it down to a second track because I don't want to interfere
with what she is saying and I am going to just put my narration in here.
| | 03:00 | It will make this a mono clip so I'll set my
input to mono and now when I start to play
| | 03:05 | and I click the Record button, I would say, "And just northwest of L.A."
| | 03:10 | (Clip plays: To show you how to make homemade wine.)
So I've just done my recording by arming the track,
| | 03:13 | hitting the Record button and it will go over and over and over again.
| | 03:17 | And what's called a Multitake Recording?
| | 03:20 | Well, a Multitake Recording is actually so
exciting and so new, I have devoted a whole chapter
| | 03:25 | to it to just see a little bit later in this training.
| | 03:28 | But because we are talking recording now, I wanted to show you how
we could record a single track, how we could record multiple tracks,
| | 03:35 | how we could do a punch in and how we could use a
Cycle Region to control exactly when we are recording.
| | 03:41 | Amazing stuff.
| | 03:42 | It's simple, clean, easy, neat.
| | 03:43 | The key is to pay attention to your levels.
| | 03:45 | They must, must, must not go over 0, it's just really bad.
| | 03:50 | And there is no excuse for it.
| | 03:51 | It just says bad editing done here.
| | 03:53 | By the way, if you want to know the loudest your audio has been,
that's what this button is right here and if you ever need to reset it,
| | 03:58 | just click in it and it automatically resets to
whatever the current volume of your audio is.
| | 04:03 | Configure it and you are good to go.
| | 04:05 | So that's a look at recording, but what I want
to look at next is the Multitrack Recorder.
| | 04:10 | We have touched on it here.
| | 04:11 | The next chapter goes into a whole lot more detail.
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7. Working with the Multitake EditorMultitake Editor overview| 00:00 | New Soundtrack Pro 2, the Multitake Editor makes it
very easy to create composite clips from multiple takes.
| | 00:07 | You see while Soundtrack manages all these different takes
from our point of view, the clip acts just like a single clip.
| | 00:15 | Here's the process.
| | 00:16 | We record multiple takes, then we switch to the Multitake Editor
and we split the clips to isolate the best portions of each take.
| | 00:23 | If necessary, we can slip the clips holding Command option
and drag down to reposition the audio for the best timing.
| | 00:30 | Then, we create the final composite clip by selecting the best portions.
| | 00:35 | It sounds complex, but it's amazingly easy,
I will show it to you in just a second.
| | 00:39 | Then, we can add transitions between these different portions.
| | 00:43 | We can edit the transitions.
| | 00:44 | We can even delete the transitions.
| | 00:46 | But to get it to work requires a cycle region
and cycle regions are so important to Soundtrack,
| | 00:54 | they deserve their own movie, and we will talk about them next.
| | Collapse this transcript |
| Working with cycle regions| 00:00 | A Cycle Region is an area of a multitrack Timeline
that repeats provided cycling is turned on.
| | 00:06 | It acts similar to the in and the out in Final Cut.
| | 00:09 | You can only have one Cycle Region at a time,
although it's easy to change and easy to move.
| | 00:15 | We can also use Cycle Regions for exporting just a portion of a Timeline.
| | 00:19 | Again, it acts like the in and out in Final Cut.
| | 00:22 | So here, I want to show you how to create a Cycle Region, how to activate
a Cycle Region which has the letter C, how to change a Cycle Region
| | 00:30 | and how to delete a Cycle Region which is pressing option X. Let's
switch over to Soundtrack, and I will illustrate this for you.
| | 00:39 | Okay, here is Soundtrack and I have added a piece of jazz music here.
| | 00:45 | (Jazz music plays.) Cool.
| | 00:46 | Let's say that I want to do something with a portion of the clip.
| | 00:49 | I want to make this sound like it's coming in and out of
telephone, but I don't want the whole clip to be a telephone,
| | 00:56 | I just want a piece of it to be a telephone or I want to tweak
the level or I am trying to set a transition or who knows what,
| | 01:02 | I don't want to work with the whole clip, I want to work
with a portion of it where we set a Cycle Region by click,
| | 01:07 | hold and dragging in the bottom half of this time bar down here.
| | 01:11 | And notice that we have got this symbol for an in
stolen from the Final Cut and we have the symbol
| | 01:16 | for an out, just exactly like we are used to in Final Cut.
| | 01:18 | Now, to turn the Cycle Region on or off so that it repeats, I am going
to make this really short so we don't have to wait a lot of time.
| | 01:26 | When I play, see this button down here, this is the cycle button.
| | 01:30 | If you type the letter C, it turns the Cycle Region on dark or off light.
| | 01:37 | When the Cycle Region is dark and I hit the spacebar...
| | 01:42 | (Jazz music plays.) It will repeat over and over and over again, so you can
hear that particular portion of the clip or transition or multiple clips.
| | 01:55 | If you want to change the Cycle Region, just grab one of these and
slide it back and forth just the same way that we would adjust an in
| | 02:01 | or an out inside Final Cut, and if we click in the lower half of
this Timeline window, I can slip the whole thing earlier or later.
| | 02:09 | So let's say I wanted to hear this first section and then I wanted to
hear a later section and then I wanted to hear a still later section.
| | 02:16 | I can do that by slipping the Cycle Region.
| | 02:19 | To get rid of the Cycle Region, how do we get
rid of the in and the out inside Final Cut,
| | 02:23 | exactly the same way, option X. Option X deletes the Cycle Region.
| | 02:28 | And let's do it out, the letter X sets the Cycle
Region equal to the entire clip our playhead is in.
| | 02:34 | So let's say I wanted to listen to a single clip in the Timeline.
| | 02:38 | X sets the Cycle Region the same way that X sets the in
and the out inside a clip in the Timeline in Final Cut.
| | 02:45 | A Cycle Region is acting like the in and the out.
| | 02:48 | It's the best way to think of it.
| | 02:49 | You can only have one active Cycle Region at a time and you set the Cycle
Region either by dragging down here or putting your playhead in a clip
| | 02:57 | and type in the letter X, you can change its length, you
can move its position and type option X to delete it.
| | 03:05 | With that as a background, let's talk about the Multitake Editor and
after you have seen this in action, you are never going to go back
| | 03:12 | to any other way of doing narration in the Multitake Editor.
| | 03:16 | That's next.
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| Creating a multitake clip| 00:00 | Now that we understand what a Cycle Region is
let's put it to work creating a multitake clip.
| | 00:05 | In order to the multitake clip to work we have to do two
things we have to show where within the Timeline we want
| | 00:10 | to record and we have to create a track to record on.
| | 00:13 | Let's take a look at what our hosts are saying here.
| | 00:15 | (Clip plays: It's ready for you to enjoy.
| | 00:16 | Thank you for visiting the Taj Caf?.) Okay, so I trimmed off his last
word, which is yummy, by just simply dragging this up a little bit
| | 00:25 | and we will create a Cycle Region by click hold and
dragging so that we now have where the announcer is going
| | 00:30 | to go it's going to be contained inside that Cycle Region.
| | 00:33 | But I need the track to record on and I don't want to use any the
existing track so I will go up to the Multitrack menu and say Add Track.
| | 00:40 | And the track is always added to the bottom of our sequence.
| | 00:43 | So I am going to click here, rename it and
then grab that colored bar and drag it up above
| | 00:49 | so I now position narrator right below where this sound on tape is.
| | 00:52 | I don't have to move it but it just makes it easier so we can keep
everything all sort of in one's bottom to see what we are doing.
| | 00:58 | Now we need to arm the track for recording so we click the red Arm
button and notice that you can see my microphone coming into here.
| | 01:06 | And if my variable audio engineering assistant can
grab my microphone and tweak the gain up just a bit.
| | 01:13 | You want to try and record between minus 12 and minus 6.
| | 01:16 | Nowit looks a little bit better.
| | 01:18 | So we have set the Cycle Region, we have created a track, we have
armed the track for recording and our playhead is know the beginning.
| | 01:24 | We click the red Record button and I grab the script and
these three phrases here: "The Taj, where fine food is found.
| | 01:33 | Call for reservations."
| | 01:35 | I messed that up, let's try it again.
| | 01:39 | "The Taj, where fine food is found.
| | 01:42 | Call for reservations."
| | 01:44 | "The Taj, where fine food is found.
| | 01:47 | Call for reservations."
| | 01:49 | "The Taj, where fine food is found.
| | 01:52 | Call for reservations."
| | 01:54 | And we will hit the spacebar to stop.
| | 01:56 | So we have done 4 takes of that and we will
disarm the track to keep us from making a mistake.
| | 02:01 | We will select the clip and this time we will open up the
Lower Pane and click on the Multitake Editor and each one
| | 02:08 | of those 4 takes is now contained inside the Multitake Editor.
| | 02:12 | It acts like a single clip in the Timeline
but it actually has all 4 takes inside.
| | 02:17 | What we are going to do first is we are going to listen to
these takes so I am going to click on take number 1 down here,
| | 02:24 | hit the Home key to go back and let's listen to take 1.
| | 02:28 | Switch our meters over to here.
| | 02:31 | "The Taj, where fine food is found.
| | 02:34 | Call for reservations."
| | 02:36 | Well, kind of blew that one.
| | 02:38 | Let's try take 3.
| | 02:39 | "The Taj, where fine food is found.
| | 02:42 | Call for reservations."
| | 02:44 | Okay ,the call for reservations isn't bad.
| | 02:46 | So we are going to click the razor blade
and we are going to slice this right here.
| | 02:50 | There is our call for reservations.
| | 02:52 | Let's find one that's got the Taj on it that
we like, "The Taj, where fine food is found.
| | 03:00 | Call for reservations."
| | 03:01 | Let's try the 4th take.
| | 03:04 | "The Taj..."
| | 03:05 | There we go.
| | 03:06 | So we are going to take our razor blade we
are going to take the Taj from this take.
| | 03:09 | We are going to take call for fine food at the end and notice what I am
doing is I am selecting the portions of this clip that I want to use.
| | 03:17 | Now we have built a composite.
| | 03:19 | Here's the Taj that's coming off take number 4, then we
will take the middle from probably this take right here,
| | 03:27 | and we will take the end from that take and as we
listen to it by clicking up here in the composite,
| | 03:32 | "The Taj, where fine food is call for reservations."
| | 03:37 | The problem is, is that it's not quite timing out properly.
| | 03:41 | We need to slip this audio.
| | 03:42 | So I am going to hold down the Option
and the Command keys and grab this take
| | 03:46 | and drag it to the right so I will move a little bit closer to the end.
| | 03:50 | Then with my Arrow tool selected, I will take the divider and
move the divider so that fits a little bit better right in there.
| | 03:59 | And then now when I listen to it I get the Taj coming from the first take,
and we will Option+Command-drag it earlier, call this divider back up a bit
| | 04:09 | and then go to the 2nd take and Option-drag it back to get it to fit.
| | 04:15 | In other words, see what I am doing?
| | 04:17 | I am building a composite take just by aligning stuff now
and we listen to it, "The Taj where fine food is found.
| | 04:25 | Call for reservations."
| | 04:27 | Take 5, take 4 and take 3.
| | 04:30 | It's now built into a single clip.
| | 04:33 | In fact we can work this even better by adding
transitions and I will show you that next.
| | Collapse this transcript |
| Using multitake clips and transitions| 00:00 | Okay so what we have done is we have created a Cycle Region that
defines the area in which we want to record on the Timeline.
| | 00:06 | We created a track and armed it for recording.
| | 00:09 | We then adjusted our levels to make them sound perfect and
we have recorded multiple takes of the same piece of copy.
| | 00:15 | We then selected the clip that had the multiple takes,
clicked on the Multitake Editor in the Lower Pane
| | 00:21 | and using the razor blade tool we sliced it into sections until we
got the reading that we wanted from each of these different takes.
| | 00:28 | Then we clicked on the different take that we want to use and
the composite is built automatically for us in the Comp window.
| | 00:35 | If we needed to listen to this by the way, you
click on the Scrub tool and click hold and drag
| | 00:40 | and you are able to scrub across the audio that's inside the track.
| | 00:44 | And it's very much like the old tape heads on tape
decks for those of who that remember magnetic media.
| | 00:49 | That makes it very easy to scrub and listen to a particular selection.
| | 00:53 | This by the way, the keyboard shortcut for the Scrub
tool is the letter H. The razor blade slices stuff up.
| | 00:59 | Now the thing that we haven't talked about is transitions.
| | 01:02 | You see these dividing lines here, if I open this up
what I can do is I can add a little bit of a transition
| | 01:10 | to blend the sound of the first take into the second take.
| | 01:14 | This prevents say breaths from being cut in
the middle or an instant shift in room tone.
| | 01:18 | And notice that it's got a shape to the transition.
| | 01:21 | If we double-click it, it opens up the Transition
Editor and this allows me to select a linear transition,
| | 01:28 | a logarithmic transition and exponential
transition or a split-s transition.
| | 01:35 | Now I could go into a lot of detail and describe the mathematics behind
these, but frankly nobody cares and people's eyes would just sort of roll
| | 01:42 | around and they would fall off their chair twitching.
| | 01:44 | The best transition to always start with
is this one, the logarithmic transition.
| | 01:50 | What it does is it compensates for the difference in how audio is measured
logarithmically versus how video is done linearly and you are going
| | 01:57 | to get the smoothest transition in general
by selecting the second one down.
| | 02:01 | If for some reason you need something that is slower and builds
quicker or is a bit more linear or whatever you want click the others
| | 02:09 | but the logarithmic transition is always the best choice because it's
going to give you a nice, flat, transition from one to the other.
| | 02:16 | Each of these can be double-clicked and when you double click it maybe
you say I want to have a book like this or I want to have it be like that.
| | 02:22 | You can create your own transition to your own satisfaction
so you are a happy camper in terms of how this works.
| | 02:29 | So we select it and now I want to take and move this
one apart just a bit to create a transition here.
| | 02:36 | In this case I have got very little room to work because the audio comes
so quick on the next one but let's just take a listen here and here we go.
| | 02:44 | (Clip plays: The Taj, where fine food is found.
| | 02:45 | Call for reservations.) Now what I would probably
do is I might just take a little bit of pause out.
| | 02:53 | This is so pregnant a pause it's giving
birth but nonetheless we would like to...
| | 02:57 | (Clip plays: The Taj, where fine food is found.) And I think you are
seeing how we can use the power or the Multitake Editor to be able
| | 03:05 | to take our narration and make it exactly
the right take at exactly the right time.
| | 03:09 | I am holding Option + Command down snippet
so it goes right where we needed to go.
| | 03:13 | This is hugely powerful and very cool and we
still have more to show and that's coming next.
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|
|
8. Working with MarkersMarker overview| 00:00 | Just like the other applications inside Final
Cut Studio, Soundtrack Pro has markers too.
| | 00:06 | Markers are like little sticky notes that you can scatter around your
projects and there are three types of markers there is time markers,
| | 00:12 | which you set with a letter M, beat markers, which you set with Option
+ B, and scoring markers, which are created inside Final Cut Pro.
| | 00:20 | In this section, I want to show you how to create markers,
how to change, move and name markers, how to delete markers,
| | 00:26 | how to jump the playhead to markers and how to align clips to markers.
| | 00:31 | All kinds of markers and things to talk about with markers, but
the interesting thing is we are not going to start in Soundtrack.
| | 00:37 | We are going to start in the Final Cut Pro
| | Collapse this transcript |
| Creating markers| 00:00 | I am here inside Final Cut Pro because I want to show you how to set a
scoring marker and just as you do inside Final Cut to do any other kind
| | 00:07 | of marker you put your playhead where you want the marker to be and
type the letter M and that little green house appears in the Timeline.
| | 00:14 | Scoring markers must be in the Timeline
they cannot be associated with the clip.
| | 00:19 | To making it a scoring marker however you have to do more than just create
it, you have to type M a second time with your playhead parked on top
| | 00:26 | of the marker that opens up the Edit Marker
dialogue and here we can give it a name
| | 00:31 | but most importantly we click the button that says Add Scoring Marker.
| | 00:35 | And notice that it gives us this HTML looking scoring code that sets
this apart from other markers as being specifically for Soundtrack Pro.
| | 00:45 | Now what I have done here we will just delete
that so I just want to stay with one marker.
| | 00:49 | What I have done is I have already created a marker.
| | 00:51 | I am going to type Option+M to jump my playhead to the marker
and notice that it's called Music Start because he takes a breath
| | 00:57 | and I would like to have the underscores start at that
point and we can see the scoring flag with the marker.
| | 01:03 | You can have as many markers as you want inside Final Cut but
just remember those that get exported to Soundtrack need to have
| | 01:09 | that scoring button pushed and then when it
comes time to output you need to export a file.
| | 01:15 | Now here you have got several choices,
you could just export this for Soundtrack.
| | 01:20 | If you do, this is not the same as a Send this is an Export, which
means that there is no dynamic linkage between this file and Final Cut.
| | 01:29 | The key point is notice the settings down here, it's already been set to
only export the audio scoring markers, those that have this scoring flag
| | 01:38 | or what you could do is you could do File, Export, QuickTime Movie this
is another way of doing it but this allows you to make it self-contained.
| | 01:46 | Just remember to make sure that audio scoring markers are all markers
either one of those two need to be selected or you could send the file,
| | 01:54 | go to Select the file, Send To and you could send it to a
Multitrack Project or you could select the sequence up here
| | 02:04 | and do file Send To and send it to a Multitrack Project.
| | 02:08 | If you want to have the dynamic link so
that it can be updated then send it.
| | 02:13 | If you just want to get the file out so you can work on
it either on your system or somewhere else then export.
| | 02:18 | Export is a self contained QuickTime Movie if it's going to go to somebody
else's system or export is a Soundtrack Pro Movie if it's remaining
| | 02:26 | on your system because it will just be a reference movie,
it will be much smaller and export much more quickly.
| | 02:31 | Regardless of how you get the movie out we need
to get in the Soundtrack Pro, let's switch over.
| | 02:36 | To open a file inside Soundtrack we don't have
to import it because there is no Import function.
| | 02:44 | We are going to look right down here into the operating
system and on the second drive inside Soundtrack Pro Assets,
| | 02:51 | inside Media I have created a clip called scoringmarker.mov.
| | 02:55 | Now the first time I started to work with scoring markers I
drove myself nuts because here was the mistake that I was making,
| | 03:02 | I would grab this clip and I would drag it in like that.
| | 03:06 | And notice that whenever I drag it in there is no markers up here.
| | 03:09 | Well clearly I had exported it incorrectly from Final Cut
so I went back to Final Cut and just spent hours trying
| | 03:15 | to figure out how to export markers so they would work.
| | 03:18 | Problem is I am doing it wrong.
| | 03:20 | Instead of dragging it to the audio because there is video associated
with this, click hold and drag it up into the video setting.
| | 03:28 | The markers are stored in the video portion
of the clip not the audio portion of the clip.
| | 03:33 | So here when I drag it in, notice there is my scoring
marker from Final Cut because I grab the marker
| | 03:39 | and dragged it into the video track not the audio track.
| | 03:44 | Or if you double click it, double clicking opens it up as an audio
file project and there is your marker inside the audio file project.
| | 03:51 | So we can see markers whether they are inside the audio file or
inside the Timeline but notice that markers go full screen that is
| | 04:00 | to say a marker covers all tracks which means if you were to select a
clip and go to the File Editor markers are not inside the File Editor
| | 04:09 | because markers are based on all the tracks
not just a single clip in the track.
| | 04:13 | So we can't set markers in the File Editor but we can set them
in the Timeline and we can set them as part of the audio file.
| | 04:20 | But you will notice that we have only been working with one
marker and that's the scoring marker that's set inside Final Cut.
| | 04:27 | There is actually two more types of markers, Standard Time
Markers and Beat Markers and we will talk about those next.
| | Collapse this transcript |
| Working with markers| 00:00 | We have already seen that this orange marker
a scoring marker comes in from Final Cut.
| | 00:05 | But there is a couple of markers that we can set ourselves inside
Soundtrack and the first one is just called the Time Marker and we set it
| | 00:11 | by typing the letter M from Marker and
notice the green marker shows up, up here.
| | 00:18 | We can grab that marker and we can change its position by click hold and
dragging tails and that's something we would like to see inside Final Cut.
| | 00:24 | And there is a second kind of marker and this is called the Beat Marker.
| | 00:28 | It's most useful when we are working with
music inside Soundtrack and we set it
| | 00:32 | by typing option B let's put our play it over here, option B for Beat.
| | 00:38 | Now you see the color scheme of the three markers that are
available to us inside Soundtrack green for a Time Marker,
| | 00:44 | orange for a Scoring Marker and purple for a Beat Marker.
| | 00:48 | Now the Beat Marker can be moved just the same as the
Time Marker can be moved but the Scoring Marker cannot.
| | 00:54 | The Scoring Marker is locked.
| | 00:56 | Its position is determined by Final Cut
and the marker that's exported from that.
| | 01:01 | But we can do more than simply move markers, watch this.
| | 01:05 | Not only can be move the marker if I highlight here and hold the Shift
key down and click on this second marker now I have got two markers
| | 01:13 | that are highlighted, watch both markers moving at once,
is that cool or what, alright, alright to the Beat Marker.
| | 01:25 | Three markers moving at once, almost fell
off my chair when I discovered that.
| | 01:29 | What we can do more than simply move the markers if we
wanted to delete a marker highlight it and hit the Delete,
| | 01:35 | oh they are all deleted, Command+Z to bring them back.
| | 01:38 | Make sure you only have one marker selected and hit the Delete
key it's nice to be able to undo but we can do more with markers
| | 01:46 | as he started to say before he rudely interrupted himself.
| | 01:49 | If we open up the left hand pane and go to the
detailed tab with the marker selected we are able
| | 01:55 | to determine whether it's a Beat Marker or a Time Marker.
| | 01:58 | We can give it a name Mymarker.
| | 02:01 | We can determine its exact position, click hold and
drag and we can move the marker all over the place.
| | 02:06 | We can determine if it has a duration say we wanted to have
the two second duration and now we have got a duration marker
| | 02:13 | by default it's set to 0 and we can add a comment this is a comment.
| | 02:20 | And we have added a comment.
| | 02:23 | Let's give it a name Mymarker and notice that the name floats
up here so wherever the marker moves the name moves with it.
| | 02:32 | You can determine whether you want to see the
marker names or not by going to the View menu
| | 02:36 | and go to Show Marker Titles when that's unchecked we just see the markers.
| | 02:41 | If you have got a lot of markers and the names
they are just going to step on all over each other.
| | 02:44 | That will be a good reason to turn this off.
| | 02:46 | We can turn marker titles on or off.
| | 02:49 | Also notice that the line for the marker goes across all the tracks
maybe you don't want the marker line to go across all tracks so we go
| | 02:56 | to show marker lines and notice that the marker
exists but not the vertical line for the marker.
| | 03:02 | I will turn marker lines back on again, very cool stuff.
| | 03:08 | So what we have seen is that we can create
markers, we can change markers in the details tab.
| | 03:14 | We can grab a marker and move it.
| | 03:16 | We can select a group of markers and move the
whole group based upon what we shift click on.
| | 03:20 | By the way you do shift click so you click on the first
and hold the shift key down click on the other markers.
| | 03:25 | We can move, delete, change any marker except the
scoring marker that can only be altered inside Final Cut.
| | 03:31 | But there is a couple more things that we can do
with markers and the first is to move the playhead
| | 03:36 | to a marker and the second is to align clips with markers.
| | 03:39 | I will show that to you next.
| | Collapse this transcript |
| Navigating with markers| 00:00 | Well now that we got these markers set how do we navigate to them?
| | 00:03 | Well just as we navigate inside Final Cut actually.
| | 00:06 | If you want to move back to a previous marker, hold the option,
key down and type the letter M and you move to the previous marker.
| | 00:12 | If you want to move to the next marker hold the shift key down,
type the letter M for marker and you move to the next marker,
| | 00:19 | so Option+M moves you back, Shift+M moves you forward the playhead aligns
with the marker so we have seen that we can reposition markers by click,
| | 00:27 | hold and dragging and we can align the playhead
with the marker by just simply grabbing it
| | 00:33 | and either doing Shift+M, Option+M or aligning it to the marker.
| | 00:36 | Notice that that my playhead is jumping to these grey vertical bars here
as well as the marker because snapping is turned on and we control snapping
| | 00:45 | by going to the View menu and notice that snapping is checked on
and the keyboard shortcut is the letter M same as in Final Cut.
| | 00:52 | Notice what we can snap to.
| | 00:54 | I can snap to ruler ticks which are these vertical lines,
the grey lines here but I can also snap to markers.
| | 01:02 | This is so cool because it means let's say that I wanted to
align a clip with this marker where I want the music to start.
| | 01:10 | I went to the Search menu and I went to Instruments and I selected
an acoustic base because somebody has to run, it might as well be me.
| | 01:19 | If I Control-click on this I can spot that clip to the playhead,
goof and notice that it jumps right to the playhead but if I wanted
| | 01:30 | to I can set the playhead right here at the
marker and then say jump to the playhead, cool.
| | 01:36 | It goes right to the playhead.
| | 01:38 | But because snapping is turned on if I grab this clip
it's going to snap the head of the clip to the marker.
| | 01:45 | Why? Because snapping is turned on and I have got Snap To Markers
turned on which means it makes a very, very easy for me to align clips
| | 01:54 | with the playhead or with the marker just by either dragging it up.
| | 02:00 | I just dragged it up here and now we will just snap it to the
marker or by putting the playhead on the marker and Control-clicking
| | 02:08 | on what you want to align and say spot it to the playhead.
| | 02:11 | You can also for that matter spot it to the Timeline and type in
the time code that you wanted to go to as well if you wanted to.
| | 02:18 | But for me just being able to have snapping turned on and snap to a marker
and drag a clip so it starts exactly where the marker goes is very cool.
| | 02:28 | As you will see as we start to talk about sound effects,
there is another way that we can work in terms of aligning.
| | 02:33 | I mean there is lots of ways that we can work with clips
but I wanted to just focus I am working with makers here.
| | 02:39 | We will be looking at a lot of other ways to edit audio and the edit
audio sections for both the audio file project and the multitrack project
| | 02:46 | but just as markers are incredibly useful inside Final Cut they can also be
incredibly useful inside Soundtrack and now you nowadays use them as well.
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9. Selecting AudioSelecting audio files| 00:00 | Before we plunge boldly forward and start to look at how to repair our
audio, I want to talk about the #1 interface rolled inside Soundtrack Pro
| | 00:08 | and that is select something then do something to it whether it's a
processing a file or deleting some audio or whatever you want to do
| | 00:16 | in order for soundtrack to know what the heck it
is you want to do, you've got to select it first.
| | 00:21 | Well, one of the ways that we could select something is Command+A.
| | 00:24 | Command+A selects the entire audio clip and
Shift+Command+A deselects the entire clip.
| | 00:31 | These two keyboard shortcuts are exactly the same as final cut.
| | 00:35 | However, I don't use Command+A and Shift+Command+A, there is a better way.
| | 00:40 | Put your mouse anywhere in the center of the clip and double-click.
| | 00:43 | Double-clicking allows you to select the entire clip.
| | 00:47 | And to deselect, just click anywhere inside
the selected area, double-click, click,
| | 00:52 | double-click, click, all the way over here, deselects it.
| | 00:56 | This is a stereo clip.
| | 00:57 | The left-hand channel is on top, the right-hand channel is on the bottom.
| | 01:00 | If I move the mouse all the way up to the top, notice
that letter L that appears that tells me that I am going
| | 01:06 | to be selecting just the left channel,
double-click the left channel, select it.
| | 01:10 | Or move all the way down here, notice the letter R. I
am going to be just selecting the right-hand channel,
| | 01:15 | double-click and just the right channel is selected.
| | 01:18 | I can even select a portion of a clip.
| | 01:20 | If I click, hold and drag, notice that I have selected a portion
of the clip based upon where I drag the mouse, just a little bit,
| | 01:28 | just a big bit whatever you want to click, hold and drag.
| | 01:30 | Click, hold and drag up here, it's a left channel.
| | 01:33 | Click, hold and drag down here, it's the right channel.
| | 01:36 | Surely, there could not be more ways to possibly select audio than
we have just seen, but in fact, we haven't even gotten started yet.
| | 01:44 | Let's take advantage of the Markers that we just learned
about, put our playhead where we want a Marker to go,
| | 01:49 | put our playhead where we want another Marker to go.
| | 01:50 | If you double-click inside Markers, soundtrack
selects just from one Marker to the next.
| | 01:57 | Click inside to deselect.
| | 01:58 | Let's move this Marker over to here, double-click,
notice that it automatically goes between Markers.
| | 02:04 | Well, I use this technique a lot when I very
carefully position exactly where I want my audio to go.
| | 02:11 | Let's say I want to delete this portion right here.
| | 02:14 | I put the Marker at the start of the part, I want to delete, then the
Marker at the end of the part that I want to delete, double-click,
| | 02:20 | hit the Delete button, boom, I've selected,
I'll do something to it, I delete it.
| | 02:25 | This is an absolute classic way of doing standard editing.
| | 02:29 | You select the area that you want to get rid of
and you hit the Delete key, but there is more.
| | 02:34 | Yes, I know that you can't delete it but it's still true if I put
my playhead right here and I type the Shift key and press End,
| | 02:43 | it selects everything from the position
of the playhead to the end of my document.
| | 02:48 | If I do Shift+Home, it selects everything from
the beginning toward the position of my playhead.
| | 02:53 | And notice that the playhead moves to the beginning
if I hit the Delete key, boom, there it is, it's gone.
| | 02:58 | Well, I tell you it's enough just to make your mind explode, isn't it?
| | 03:02 | The key rule is you need to select something and do something to it.
| | 03:07 | And we can select with the keyboard, Command+A.
| | 03:09 | We can select with the mouse clicking, double-clicking or dragging.
| | 03:13 | We can select using Markers and we can
select using Shift+End and Shift+Home.
| | 03:18 | Now that you've got this as an orientation, repairing
audio is going to make a whole lot more sense.
| | 03:23 | We will talk about selecting audio when we cover
Multitrack Projects a little later in this training.
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|
|
10. Repairing AudioAudio repair overview| 00:00 | In this chapter, we will talk about repairing audio.
| | 00:03 | Now repairing audio is the process of
fixing individual clips to correct problems;
| | 00:08 | such as hum or noise or really low audio levels of pops and clicks.
| | 00:13 | The key thing to keep in mind about Soundtrack
Pro is that audio repair is nondestructive.
| | 00:19 | Nondestructive means that the original
audio is not changed in the editing process.
| | 00:24 | Destructive editing means that any changes
that are made to the audio file are permanent.
| | 00:30 | When Soundtrack Pro first released a couple of years ago,
nondestructive really caught everybody's attention because very,
| | 00:37 | very few audio editing packages at that time offered nondestructive
editing, which makes it very easy to try something and then back out of it,
| | 00:45 | even way past the fact if you find that you've made a mistake.
| | 00:49 | One of the new features inside Soundtrack Pro 2 is the File
Editor and while you can't do repairs in the File Editor,
| | 00:56 | I found that you can do more complex work
more easily as an audio file project.
| | 01:01 | Now, keep in mind that an audio file project is a single clip.
| | 01:05 | So we will start this section by learning the audio file interface.
| | 01:08 | We will talk about reading waveforms and
especially why the 0 crossing is so important.
| | 01:13 | We will talk about changing the Timeline scale, understanding actions
and analysis, then working with the actual repair tools to repair audio.
| | 01:22 | And we will wrap up by showing how you can repair individual
clips using the File Editor in the Multitrack Timeline.
| | 01:30 | Specifically, what we will do in this chapter
is show you how to adjust the volume of the clip
| | 01:35 | and explain why you don't want to do it
and instead, concentrate on normalizing.
| | 01:40 | I will show you how to add ambient noise as a way of
repairing, heavy breathing and strange weirdnesses and noises,
| | 01:46 | how to edit the individual samples of an audio file, how to use
the analyzed menu to repair pops and clicks or take out hum,
| | 01:54 | how to insert silence or random noise or just a waveform.
| | 01:59 | A new feature inside Soundtrack Pro 2 is matching equalization, very
cool and very easy, using the Time Stretch tool which is just hysterical
| | 02:08 | when used in the wrong hands, and talk about removing noise,
there is a lot to cover so we are going to get ourselves started
| | 02:15 | by showing you the interface of an audio file project.
| | 02:19 | That is next.
| | Collapse this transcript |
| The audio file interface| 00:00 | So just to get a sense of how do we get a
file in here from beginning and let's build
| | 00:04 | on what we have already learned, I have
opened up the Project 02 FCP talking-head.
| | 00:09 | I have got this clip which is too low, kept too low.
| | 00:14 | So we want to take it over the audio file project and get it repaired.
| | 00:17 | So the first thing we will do is select all of our clips, we will
send this to an audio file project, we will take all the defaults,
| | 00:24 | normally I would say this inside my project but I am
going to keep it at the desktop because I am going
| | 00:29 | to trash it immediately, and look at what's happened.
| | 00:32 | It's opened up soundtrack, we would see the video in the video folder
and as we play the clip, we can see the video play as he is talking.
| | 00:39 | The waveform is in the center and our paints are all around here.
| | 00:43 | But the problem is the pains are our pain in the
neck because they are taking up too much space.
| | 00:47 | So let's do a couple of things.
| | 00:50 | Let's just totally reorganize this and let's grab the video paint and drag
it down to here because we can put it somewhere, we can just put it there,
| | 00:58 | and then we will hide this whole section over here, Ctrl+A.
| | 01:01 | And now we have got some more room for our waveform.
| | 01:04 | We are not using any of these features down here because we are in an audio
file project and we know that because notice there is no track headers
| | 01:11 | over here so we can hide this lower paint and Shift+Z
automatically expands our waveform to fit the available space.
| | 01:20 | So I can use this to see my metering, I can use this to see my video,
taking advantage of the customization that we have already learned.
| | 01:27 | This is our entire clip loaded up into soundtrack but the in
and the out are flagged by these special grey markers here.
| | 01:34 | And as we discovered a couple of movies ago, if I double-click between
two markers, it automatically selects the section inside the marker.
| | 01:42 | So our left-hand channel is up here, our right-hand channel is down here.
| | 01:47 | Just as the #1 interface rule for Final Cut is to select something
and do something to it, the same rule applies inside Soundtrack Pro.
| | 01:55 | If I wanted to adjust a portion of a clip, I would click, hold and
drag and I would select that part of the clip that I want to select.
| | 02:02 | What's equally cool if I load a stereo clip and I select way
up here at the top, notice that I just select the left channel
| | 02:09 | or way down here at the bottom, I select the right-hand channel.
| | 02:13 | I can put my playhead anywhere and type Command+A, select
all or double-click between markers or click, hold and drag.
| | 02:23 | In all cases, I want to select the area that I want to fix and then fix it.
| | 02:27 | Well, let's take a look around the rest of the interface.
| | 02:30 | We have already seen the paints and those haven't changed.
| | 02:32 | We have seen the controls and those haven't changed.
| | 02:35 | Notice this thing down here, this is so sneaky, this
is the master audio level for all of soundtrack.
| | 02:47 | Is it labeled?
| | 02:48 | No. If I were to take this all the way down here, you can't hear a thing.
| | 02:55 | So, if I bring it up here, I make my levels louder.
| | 03:00 | If you want to keep it set to the default, double-click
it, it automatically goes back to its default setting
| | 03:05 | of playing your audio back at the same level at which it was recorded.
| | 03:09 | This is a down sample.
| | 03:10 | Notice that it's got two things, it's going to one thing and thing it has
| | 03:14 | of course a technical term that's used
only by highly qualified technicians.
| | 03:17 | What this does is it takes the stereo file, boils it down to
mono, so you can make sure you don't have any phase cancellation
| | 03:23 | and in order to apply it, you just have to click and hold it.
| | 03:27 | What this allows you to do is to temporarily
convert a stereo file to a mono file.
| | 03:31 | Couple of other things inside the interface; we have
got the same global view, Command+ zooms this in,
| | 03:38 | Command- zooms this out, same as the multitrack view.
| | 03:41 | And notice how this shape changes as we zoom in or zoom
out, click, hold and drag, you can move around inside here,
| | 03:49 | click wherever you want and you will jump to that part of the timeline.
| | 03:54 | The toolbar, we will talk about a little bit later, the time code in
the samples works exactly the same as it does inside the multitrack.
| | 04:02 | And I know you want to know what these things do.
| | 04:04 | This is very cool, but I am not going to tell you yet
otherwise you would never come back for more training.
| | 04:09 | We are going to talk about these two buttons in the next chapter.
| | 04:12 | So that's enough for right now.
| | 04:14 | Watch this, Shift+C, I am going to select this area here, then I am going
to select this area here, then I am going to select that area there.
| | 04:24 | I have just had three areas selected.
| | 04:26 | See this thing takes you back to the last area you had selected.
| | 04:30 | It takes you forward to the next area.
| | 04:32 | So you wanted to compare say the audio here to the
audio here, this takes you to the next selected area,
| | 04:39 | next selected, previously selected, this is very cool.
| | 04:43 | And this allows you to set key frame so you can automate anything,
although frankly, I tend to do automation inside the multitrack window
| | 04:50 | so I never use this here, but I do use it a lot within the multitrack.
| | 04:54 | Well, that's enough to get ourselves started.
| | 04:57 | Let's take a look at the waveform specifically
and we will save that for the next movie.
| | Collapse this transcript |
| Working with waveforms and zero crossings| 00:00 | The green squiggly line is called a waveform.
| | 00:03 | Now you may think you know waveforms but you don't know waveforms as well
as you think you should until you see what Soundtrack can do with them.
| | 00:11 | Let's just take a closer look here.
| | 00:13 | First, notice that the waveform itself
changes in thickness just as in Final Cut
| | 00:18 | when the waveform gets thicker the sound is louder,
when the waveform gets thinner the sound is softer.
| | 00:24 | And as we change our zoom perspective
we can see more or less of a waveform.
| | 00:30 | To get the waveform to fit is Shift+Z but
there is multiple ways we can zoom in.
| | 00:36 | One way we have already discovered which is
Command+Plus or Command+Minus we can zoom in or zoom out.
| | 00:42 | We can also grab the Mad Popsicle Stick down here and grab
the end of the Mad Popsicle Stick and zoom in or zoom out.
| | 00:48 | The problem is it just sort of zooms wherever the heck it wants to.
| | 00:52 | A better way is the zoom slider here.
| | 00:54 | You just grab this and notice that whenever it zooms
it centers the playhead and zooms on the playhead.
| | 01:01 | Now these are all really peachy although I never used
them, what I use is the scroll wheel on the mouse.
| | 01:07 | Then I am just a scroll wheeling like a mad fool and nothing is happening.
| | 01:12 | That's because there is a preference setting we need to pay attention to.
| | 01:15 | If we go up to Soundtrack Pro, go down to Preferences
and we change what the Scroll Wheel setting is,
| | 01:21 | notice the scroll wheel setting scrolls Window content, which
means it moves vertically up and down or zooms that playhead.
| | 01:28 | Well if I say zooms the playhead and close preferences
now when I scroll wheel I used to zoom in and out.
| | 01:33 | But what happens if you want to move side to side?
| | 01:36 | Well then you hold the Shift key down.
| | 01:39 | If you hold the shift key down and scroll wheel you move from side to side.
| | 01:44 | If you scroll wheel without holding the shift
key down you zoom in or out on the waveform.
| | 01:50 | And by the way a new feature inside Final Cut 6 is if you hold the Shift
key down and you are inside the Timeline using the scroll wheel moving up
| | 01:58 | and down shifts you from side to side inside Final Cut which is just
a way helpful way of moving around inside the Timeline without playing
| | 02:05 | with this Mad Popsicle Stick down here which is enough to
edge anybody far beyond their reasonable span of years.
| | 02:13 | We can also adjust the height of the tracks by clicking on this which
adjusts height but that only works inside the Multitrack Editor.
| | 02:20 | Inside here the tracks are always expanded as
wide as we will fit on the screen but I digress.
| | 02:26 | I want to talk about waveforms, look right here.
| | 02:29 | I have put my playhead right in the middle of this pretty large clump.
| | 02:33 | This means the audio is pretty loud, reasonably loud.
| | 02:37 | It's actually not very loud at all but it's one of the louder
portions of this particular clip, I am going to type Command plus.
| | 02:43 | Now what we are starting to see is the details of this
particular sound and notice this heavy grey line here.
| | 02:50 | This heavy grey line is called the Zero Crossing.
| | 02:53 | Because audio is a wave whenever you have got a wave whether it's
going through water or going through the air you have to have an area
| | 03:00 | of upness that's the top of the wave and an
area of downness that's the trough of the wave.
| | 03:06 | If you don't have an up and down area you don't have
a wave you just have the solid wall coming toward you.
| | 03:11 | Well audio is a wave that floats through the air, an area of high
pressure on the upside and an area of low pressure on the downside.
| | 03:20 | The grey line represents the point in the
waveform where there is neither up nor down.
| | 03:26 | This represents the point where there is absolutely no volume whatsoever.
| | 03:31 | I can have a loud positive volume, I can have a
loud negative volume and here I have no volume.
| | 03:38 | If I were to do an edit and I edited from here to here and
I deleted those two clips, notice that I would have an area
| | 03:48 | of high pressure immediately cutting to an area of low pressure.
| | 03:52 | This would cause a click in the audio because I am
editing to two opposite polarities, the up and the down.
| | 04:00 | Instead what I want to do is I want to edit from an area of No Pressure to
an area of No Pressure and no one will hear that edit go through because
| | 04:10 | at the point of the edit it's at the point where there is no volume.
| | 04:15 | Well in Final Cut we don't have this luxury, in Final Cut we can
only edit to a 30th of a second for NTSC, a 25th of a second for PAL
| | 04:23 | and a 24th of a second for a film, I mean give me a little bit
of rounding but basically we have got huge chunks of territory.
| | 04:30 | Inside a 30th of a second is 1600 audio samples and
it's virtually guaranteed that there is never going
| | 04:38 | to be an edit inside Final Cut that's precisely at the Zero Crossing
that's just asking too much of those samples to lineup properly.
| | 04:45 | That means that without even being my fault I can have clicks and pops
in my audio simply because I have got edits at a non-zero crossing.
| | 04:54 | See these markers here.
| | 04:56 | If we go up to the View menu and we turn Snapping On and notice this
snapping is the letter N for snapping that joke by the way was invented
| | 05:08 | by Steve Martin with Final Cut 1 and it's been stolen worldwide ever since.
| | 05:12 | Anyway snapping gets turned on with the
letter N. Now what are we going to snap to?
| | 05:17 | As I move across notice that it's snapping to each one of these lines
here and that's controlled from this menu, it's snapping to ruler ticks
| | 05:27 | but if you change this pop-up to zero crossings it means that whenever
I move the playhead it will snap to wherever my zero crossing is.
| | 05:36 | This means that if I wanted to drag to select something I am going
to automatically drag and select so my edits are always placed
| | 05:45 | at the Zero Crossing which means that regardless to how I
edit, poof, it edits at the point where there is no volume.
| | 05:52 | I can't begin to tell you how important this is because it guarantees
that you are not going to have any clicks at the point of your edit.
| | 05:58 | Wow, very cool but what happens if end of it is peak, you didn't
realize that pop-up was there or something else very cool happens.
| | 06:09 | If we select this area because we want to
make a, I am going to turn snapping off.
| | 06:14 | If we select this area so we go from an area of high pressure
to an area of low pressure and we go up to the Edit menu
| | 06:21 | and we go down to adjust selection to Zero Crossing, notice that my IN is
at the center of high pressure and my OUT is at the center of low pressure.
| | 06:30 | I want to move the In to the left and when
it does it will move to the Zero Crossing.
| | 06:38 | Then I want to move my Out to the right
and when I do it moves to a Zero Crossing.
| | 06:45 | And I can do this with the keyboard shortcut.
| | 06:48 | If I to edit adjust selection to Zero Crossing and say everybody moves
outward which is Shift+Command+O, watch the waveform down below the menu.
| | 06:59 | The Out moves right, the In moves left and I am right at the Zero Crossing.
| | 07:04 | Now why would you want to do this?
| | 07:06 | Because right here is a section I want to get rid of so I hit the
Delete key, boom it's automatically pulled that selected area out,
| | 07:13 | edited to the Zero Crossing and nobody will hear that edit go through.
| | 07:19 | This is very, very cool stuff.
| | 07:22 | It's gotten to the point now where I would select an area,
I will do Shift+Command+O it moves to the Zero Crossing
| | 07:30 | and I hit the delete key and I just do that as a matter of course.
| | 07:34 | I do that with all of my voice overs, all my narration, any
B-roll, anything where I don't have to worry about Lip Sync
| | 07:39 | and I automatically just take out and it breathes sending pauses any
weird phrasing, select it Shift+Command+O hit the Delete key and move on.
| | 07:49 | It just makes my edit so much nicer and now you know how to
do that as well because you understand how to read waveforms
| | 07:57 | and you understand the significance of the Zero Crossing.
| | 08:02 | But there is still more to discover with waveforms and
that's the Timeline scale we will talk about that next.
| | Collapse this transcript |
| Understanding scale and audio levels| 00:00 | One of the harder concepts that many of my students have trouble
grasping is the idea that audio is not linear, it's logarithmic.
| | 00:07 | It's not a straight line it's a hockey stick and
that's because audio power increases exponentially.
| | 00:15 | The problem is Final Cut and Soundtrack don't show that easily but you
can find it if you know where to look and I want to take a moment to talk
| | 00:23 | about it because it has a lot to do with how
we set levels later when we talk about mixing.
| | 00:28 | If you notice on the extreme left side here of our wave forms,
if I Control Click on here we actually have four different ways
| | 00:36 | that we can view our levels and by default it's set to normalized.
| | 00:41 | If I change it to decibels, notice here we get a
much better sense of the logarithmic nature of audio.
| | 00:47 | Here is negative 14 DB very close to the peak.
| | 00:52 | There is 10, negative 7.
| | 00:54 | Look at where negative 3 is.
| | 00:57 | Look where negative 1 is.
| | 00:58 | Look at how much space there is between negative 1 and 0 and in the same
amount of space we go roughly from negative 96 to about negative 20.
| | 01:09 | This gives you an idea of the logarithmic nature of audio.
| | 01:13 | There's another way to look at this.
| | 01:14 | If we look at it as a percent, this waveform right now is using only
20% of the potential power that could be contained inside this clip.
| | 01:23 | 80% of my level is unused because we see that
the peak just barely reaches the 20% line.
| | 01:31 | This has a tremendous influence as we start to look at mixing.
| | 01:36 | It's easier to see over here in the Final Cut.
| | 01:38 | You notice the audio meters that we have got here.
| | 01:40 | Notice how their negative 42, negative 36, negative 30, negative
24, negative 18 etc, every time your sound level increases
| | 01:50 | by 6 DB negative 24 to negative 18, the volume of your sound doubles.
| | 01:58 | So it doubles from negative 24 to 18, doubles again to negative
12, doubles again to negative 6 and doubles again to 0.
| | 02:08 | This means that when my level is at negative 6
I am only using 50% of the level of my audio.
| | 02:16 | Another 50% is going wasted because I don't have my audio above that.
| | 02:21 | Audio is logarithmic it's not linear and we can see that more easily by
control clicking over here and setting this to be percentage or decibels
| | 02:34 | or normalized if you just wanted to see it on an even scale.
| | 02:37 | For me the way that I work this is I turned off and work with
decibels so it just tells me to visualize where my audio levels are,
| | 02:45 | how much room I have got to work and what my headroom looks like.
| | 02:49 | There are two more areas of the interface
that I want to illustrate for you.
| | 02:53 | One is Actions and Analysis and the other is the File Editor.
| | 02:57 | I will show them to you in the next movie.
| | Collapse this transcript |
| Analysis, actions, and the File Editor| 00:00 | You now look around the interface for the audio file project.
| | 00:03 | I have hit the F1 key to get back to our standard layout
where the left is at bottom and the Right Panes are visible.
| | 00:10 | There is two tabs that I want to illustrate, one
is the Actions tab and one is the Analysis tab.
| | 00:16 | Actions is the list of all the changes
that you have made to your audio file.
| | 00:21 | It's like Photoshop's History palette.
| | 00:23 | There is nothing like it inside Final Cut or any of the other
applications that we work with inside the Studio it's unique to Soundtrack.
| | 00:31 | Analysis is an automated process of finding problems like clicks and
pops and hums and we will show you how these works a little bit later.
| | 00:40 | I wanted to illustrate them here because I wanted to include
them as part of the interface for doing audio repair.
| | 00:45 | Now there is one more thing that I want
to show you which is the File Editor.
| | 00:50 | Before I do however just notice one thing, notice the tools
that we have up here, notice that there are six of them
| | 00:55 | and notice that we are looking at our timing as time code and samples.
| | 00:59 | When we looked at it first in a Multitrack project it was
time code and beats but here it's time code and samples.
| | 01:06 | The File Editor gives us similar control to editing a file as
we have inside the audio file project but we need to do this,
| | 01:14 | we need to access the File Editor from inside a Multitrack project.
| | 01:18 | So it will allow you to a do a pop to white and
when I do I will have a Multitrack Project loaded.
| | 01:23 | And I just want to give you a quick orientation
because the functions are the same.
| | 01:28 | Now we are in the Multitrack Editor, notice that our tools are different.
| | 01:32 | Before we had 6 now we have 7.
| | 01:34 | We can see there is our audio file project
and here is our Multitrack Project.
| | 01:38 | As you would expect we can have multiple projects open at one time.
| | 01:42 | The point that I want to illustrate is if I select a particular
clip, notice I have clicked on the clip here at the Timeline
| | 01:49 | and I click on File Editor I am able to edit the file in the File
Editor without having to create it inside its own audio file project.
| | 01:58 | Notice the tools that I have available are exactly the same with
two exceptions: One is this Link tool, which allows me to draw
| | 02:06 | and area inside the File Editor and have it create a cycle region which
allows me to match the cycle region across all tracks with the File Editor.
| | 02:15 | We haven't talked about cycle regions but I am illustrating the tool.
| | 02:19 | And the second is the Solo command.
| | 02:21 | What this allows me to do is to just hear this
one track without hearing everything else.
| | 02:26 | We will talk about the rest of these tools a little bit later because
we are just going to talk about spectrum and frequency editing
| | 02:33 | in the next chapter but for right now the tools available
to us here in the File Editor and the tools available
| | 02:39 | to us here inside the audio file project are the same.
| | 02:44 | So you are actually learning how to use two different elements of the
interface at the same time, an audio file project and the File Editor.
| | 02:52 | If it's a simple fix I use inside the File Editor but if I need lots
of screen real estate I am going to be zooming in and zooming out
| | 02:58 | and needing to do a lot of work with the file I give myself
much my room by moving it over to an audio file project.
| | 03:05 | Audio moved to an audio file project you can either send it from
Final Cut or Control-click on this clip and you say Open in Editor.
| | 03:15 | It then opens this clip up inside its own audio file project.
| | 03:20 | Notice our 6 buttons are back.
| | 03:22 | So the File Editor is simply a different
way of being able to do audio file repairs.
| | 03:29 | This is the introduction but the understanding
comes with using it and we will put it to use next.
| | Collapse this transcript |
| Normalizing audio| 00:00 | Now that we have got a good idea of the interface
run audio file project let's start to put it to work
| | 00:06 | and one of the things it will do a lot is adjusting
the level of clips which are recorded woefully too low.
| | 00:12 | But I want to tweak the interface just a
little bit to make this easier to work.
| | 00:16 | I have loaded my clip up into the audio file project but I want to
be able to see the video and the analysis tab and the actions tab
| | 00:24 | and the meters tab and I want to try and get some of my screen real
estate back so what I did is I have created my own layout and when I go
| | 00:32 | into my layout I have called Larry2pane, make the Left Pane disappear, move
the actions and analysis over to here and move the video over to there.
| | 00:40 | Do I need to do it?
| | 00:42 | Not at all, but the reason I did is it allows me to see my
wave forms bigger and still see everything that I need to see.
| | 00:50 | Totally your choice.
| | 00:52 | I am just showing you that we can.
| | 00:55 | Now let's take a listen to this by clicking on the meters tab.
| | 00:57 | Meters shows playback level, recording see there.
| | 01:01 | That shows the record level.
| | 01:03 | Hello there.
| | 01:04 | Okay now we go back.
| | 01:05 | Let's click on the meters tab and play this.
| | 01:08 | Desperately low.
| | 01:10 | We want to take our levels for his talking head
we want to pull these levels up around minus 6.
| | 01:15 | When we get to mixing we will have a discussion on what levels
you want to pull your talking head audio but this is too quiet.
| | 01:22 | Up around minus 6 gives us some room to work.
| | 01:25 | And so far notice that what it's doing is it showing us it
| | 01:28 | on channel 1 the loudest our audio gets is negative
14.9 DB 2 seconds 14 frames in, same on both tracks.
| | 01:38 | So this is giving us an instantaneous readout of the loudest our
audio has been and most of the time it's down around minus 20.
| | 01:46 | Well first thing we want to do is we want to select our audio, double click
because it selects from the In to the Out that's what that special kind
| | 01:53 | of marker means and I don't need to adjust stuff before or
after the In or the Out because I am not going to use it.
| | 01:58 | If I wanted to I would type Command+A or
go to Edit Select All that's the Command+A.
| | 02:05 | By the way to deselect all is Shift+Command+A same
as Final Cut, Shift+Command+A which I never use.
| | 02:12 | I just select at where I click.
| | 02:15 | If you click anywhere in the middle of
the selection it deselects everything.
| | 02:18 | Anyway double click you select from the In to the Out.
| | 02:21 | Whenever you are making changes inside an audio
file all of your changes exist in the Process menu.
| | 02:28 | We have a fax we can use.
| | 02:29 | We have all this stuff.
| | 02:30 | We have all that stuff and we have all the other stuff.
| | 02:33 | No, I am not going to go through every menu choice because
frankly watching paint drive would be more interesting
| | 02:39 | but I will give you the more valuable of these.
| | 02:41 | For instance, the first one could be adjust amplitude.
| | 02:44 | Now before you reach for your clipboard and
start to write notes down, don't use this.
| | 02:50 | I am just showing you that it's here.
| | 02:53 | When you click on the Adjust Amplitude
it says how do you want to adjust it.
| | 02:56 | Well I want to make it louder or I want to make it softer.
| | 02:59 | This is very similar in fact it's darn there identical.
| | 03:02 | To grabbing the red rubber band inside
Final Cut and dragging stuff up and down.
| | 03:07 | Well why would I move the audio to Soundtrack to simply
grab the red rubber band and drag it up and down?
| | 03:12 | I can do that much more easily inside Final Cut and
there is no guarantee if I drag the amplitude up
| | 03:18 | or down that I am going to prevent this from distorting.
| | 03:22 | Distorting is when the level gets so loud
those little red peak lights light up
| | 03:26 | and distorting the audio is one of the
three fireable offences for an editor.
| | 03:30 | Alright the other two are quiet levels that are too hot and crumble levels
that are too hot and audio levels that are too hot gets you fired first
| | 03:38 | and they ask questions later and I don't want you
to get fired so don't adjust the amplitude level.
| | 03:44 | Way, way, way not a good choice I mean yes 25 years ago back in the
dawn of civilization before they invented electricity you could do it
| | 03:52 | because we didn't have any better tools but we have got better tools now.
| | 03:55 | Don't use it.
| | 03:57 | A better tool is also in the Process menu.
| | 04:00 | It's called Normalize.
| | 04:02 | Now what Normalize does and this is sort of a
paragraph so brace yourself, it's a little weird.
| | 04:07 | Normalize raises the level of the entire
selection such that the loudest portion
| | 04:15 | of the selection does not exceed the level that you enter right here.
| | 04:21 | Because the loudest that normalization can be is 0 DB
which means as loudest the audio can be without distorting,
| | 04:28 | normalization guarantees that no portion of your clip will exceed 0 which
means no portion of your selection will distort by clipping which means
| | 04:38 | that you can use normalization to raise the game especially
for stuff that is really, really soft negative 30, negative 40.
| | 04:45 | Now normalization also raises your background noise so when you
normalize your background noise gets louder and your voice gets louder
| | 04:52 | but if you have an audio operator whose headset wasn't working properly
and he decided that the mike really did need to be 15 feet away
| | 04:59 | from the person talking and you can barely hear their
lips moving then normalization can increase the game
| | 05:04 | so you can salvage an interview where nothing was salvageable before.
| | 05:09 | But I would personally never normalize to 0
especially if it's a clip that's part of a mix.
| | 05:13 | I normalize to negative 4.5 at the loudest or negative 6
at the softest for right now because it's one talking head
| | 05:24 | in one clip I am going to normalize this to negative 4.5.
| | 05:29 | Just as in the slide audio engineers don't think like normal people.
| | 05:34 | I hate to be the one to break it to you but what other industry
would describe something as being as loud as it can possibly be
| | 05:44 | with a level of 0 and everything is a negative number.
| | 05:50 | It's like they hate arithmetic and are
forcing us to learn to count backwards.
| | 05:55 | So in audio as loud as something can possibly be there is a level
of 0 DB and everything is measured in negative numbers below it.
| | 06:06 | That's just brain stumping.
| | 06:08 | Anyway I am normalizing this to negative 4.5 DB.
| | 06:11 | When I click OK watch what happens to my Waveform.
| | 06:15 | Whoop it gets bigger.
| | 06:17 | What we have just done let's go click over here control click change that
to decibels is we have set this such that the loudest portion of the clip
| | 06:27 | which is that spot right there it happens
to be a negative point is equal to 4.5 DB.
| | 06:34 | The entire selection was increased such that the loudest portion of
the selection does not exceed the level that I set for normalization.
| | 06:44 | Now when we listen to this, notice how much louder his level was down here.
| | 06:52 | Now it's right around negative 6, negative 4.5.
| | 06:57 | This is just such a powerful technique.
| | 07:00 | Don't adjust the volume, way too much likelihood that you
are going to distort because your volume gets too hard.
| | 07:07 | Use Normalize, increase the entire level of the clip such
that the loudest portion of the clip does not exceed the level
| | 07:14 | that you specify but there is one problem with normalization.
| | 07:20 | What happens if your speaker coughs?
| | 07:23 | Because it normalizes on the loudest portion of your audio and the loudest
portion is the cough, it's going to adjust your level based upon the cough
| | 07:32 | or where the ring hits the mike casing or where the
necklace hits against the mike or where some loud pop exists
| | 07:39 | that wasn't your fault, Normalization doesn't work in that case.
| | 07:44 | I have used Normalization to repair audio that's really, really, really
quiet but most of the time I am going to use something totally different,
| | 07:51 | a filter that's included in soundtrack and I will add it during the mixing
process when I have to deal with audio which ranges widely to the pops
| | 08:00 | or crackles or a speaker that is loud when they
take a breath and soft when they run out of air.
| | 08:06 | Normalization should be in your quiver of repairing audio but most
times you are going to find the limit of filter will be a better choice
| | 08:15 | but there is still a whole lot more we can do with audio repair than just
simply normalizing and looking at all the choices in the Process menu.
| | 08:23 | Next we are going to talk about something that I use on a daily basis
and that's covering breaths and pregnant pauses with clean ambient noise.
| | 08:32 | That is next.
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| Using the Actions tab| 00:00 | Here is something that's very cool about actions.
| | 00:02 | Not only do actions allow us to change our minds
in terms of whether we want to apply an effect
| | 00:07 | or not, but we can also compare between two actions.
| | 00:10 | Let me show you how this works.
| | 00:12 | I have got a piece of music here.
| | 00:17 | (Jazz music plays.) And let's say just to illustrate this process,
let's say that I am not exactly sure how we want to process it.
| | 00:22 | MaybeI want to bring the level down or bring it up or add some
sort of EQ and you know, who knows what but just to keep it simple.
| | 00:32 | I am going to double click the file and I am going to normalize it.
| | 00:35 | And I am going to normalize it to a level
setting of -12 and notice how quiet it gets.
| | 00:42 | (Jazz music plays more quietly.) Okay cool, maybe
it's too quiet so I am going to uncheck normalize
| | 00:48 | so it goes back to normal, want to normalize it again.
| | 00:53 | And this time I am going to normalize it to a -4 setting.
| | 00:58 | Not as quiet.
| | 01:03 | (Jazz music plays.) Now normally you normalize to make something louder.
| | 01:06 | I am normalizing to make a point.
| | 01:09 | I have made two different changes to the file and
I am not exactly sure which one I want to use.
| | 01:14 | So notice that I have got two different versions of Normalize.
| | 01:18 | I don't want them both applied because it's going
to be one or the other but which one is the best?
| | 01:23 | Well here is where we use the process AB Last Two Actions.
| | 01:29 | When I select this, it creates, see this red line, it means
that we have got a special process involved and I play this.
| | 01:35 | Spacebar. (Jazz music plays.) Now what I am going to do
is I am going to compare these two settings but I am going
| | 01:42 | to do it using a keyboard shortcut and that
keyboard shortcut is Command + function key 1.
| | 01:48 | What it will do ,every time I type Command
+ F1, is it's going to toggle between one
| | 01:53 | of those two normalized settings the last
two actions so I can decide which one I like.
| | 01:58 | So let's hit the Home key, Spacebar to play.
| | 02:01 | (Jazz music plays.) That's the quiet version.
| | 02:02 | Command + F1 second version, first version, second version, first version.
| | 02:09 | I am just pressing Command + F1 and notice that it's toggling between the
last two options until I get to the one that I want and then I can stop
| | 02:19 | and say I am going to stay with this louder version.
| | 02:22 | Now I am using it with Normalize because it's
an easy way to illustrate but the difference is.
| | 02:27 | I have got two wildly different audio levels but I could do with
this two different EQ settings, for different dynamic settings.
| | 02:34 | In another words, as you start to play you are always able to AB
compare your last two actions by going to the Process menu going
| | 02:42 | down to AB Last Two Actions or just typing Command + F1.
| | 02:48 | Very cool, a very powerful technique that allows you to
hone in on exactly the effect that you are looking for.
| | 02:55 | This works not only in the audio file project it also works
for the last two actions in your Multitrack Project as well.
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| Working with ambient noise| 00:00 | Okay we are back inside the Final Cut Project
called The Taj and this is our closing shot
| | 00:05 | where the chef puts the dish on the counter and listen carefully.
| | 00:13 | There is a lot of crashing and banging going on.
| | 00:16 | You can hear the dish hit the metal counter and
then there is some noises inside the kitchen.
| | 00:21 | If we look at the wave form this is the point
where we are hearing the noise in the kitchen.
| | 00:25 | There is the dish right there and then we have got that big
crunch, listen again right around where my cursor is pointing.
| | 00:32 | Well I would like to get rid of that, well what can I get rid of it with?
| | 00:36 | I can't well, let's show you how the whole process works, it's easier.
| | 00:40 | So we are going to Control Click on this and we
are going to send it to an audio file projects.
| | 00:44 | So I want to just fix that one clip and we will call it okay we will leave
| | 00:49 | that with the name I would again save
this remember you are always saving this
| | 00:54 | in the project folder because this now becomes a part of your sequence.
| | 00:58 | This is recorded on a Panasonic HVX200P2 camera.
| | 01:02 | So it always records four tracks of audio and
we have him on the Lavalier Mike on Channel 2,
| | 01:08 | a Boom Mike on Channel 1 and general room tone on three and four.
| | 01:11 | One of the things that we want to do is we want to make sure that we only
hear this channel so I am going to disable the tracks that I don't want
| | 01:18 | to hear by control clicking on them and unchecking
enable for the tracks that I don't want to listen to.
| | 01:25 | Now, when I play it, so now I am seeing the
video down here so I can see what I want
| | 01:35 | and I can see the entire clip the in and the outer established up here.
| | 01:39 | Well here I have got general room tone.
| | 01:40 | And I am going to take this room tone and I am going to replace
it right after the point where the plate hits the metal.
| | 01:49 | Right there, there is the plate hitting the metal I am
going to get rid of this chunk here and that chunk there
| | 01:54 | and I will zoom a little bit because this is where he starts to talk.
| | 01:58 | So again I will hold the Shift key down and scroll to the left.
| | 02:02 | We are going to replace this noise right here with ambient noise.
| | 02:08 | Ambient noise is room tone, the sound a room makes when nobody is talking.
| | 02:14 | If you listen carefully in any room there is the sound of air
conditioners or traffic going by outside or just the sound
| | 02:20 | of the walls creaking as the temperature changes inside.
| | 02:24 | Every room always has a room tone.
| | 02:26 | The key is to make sure the room tone is not so loud that you can't
hear your speakers talking but loud enough to give yourself a character
| | 02:33 | of what the room sounds like, is it a
small broom closet or a giant gymnasium.
| | 02:38 | The process of replacing with ambient noise is relatively straightforward.
| | 02:43 | You select what is the ambient noise and then you
select the area that you want to replace it with.
| | 02:48 | Well let's take advantage of some of the tools we have already learned.
| | 02:51 | Let's make sure that we are always selecting on Zero Crossing, let's
make sure snapping is turned on and we will just drag across here
| | 03:00 | and select okay now I have got a good area that goes to Zero Crossing.
| | 03:05 | If I listen to it, it sounds like good room tone to me.
| | 03:10 | Because everything that we want to do is inside the Process menu
whenever we are doing audio file repair we go the Process menu,
| | 03:17 | we go down to ambient noise and we set an ambient noise print.
| | 03:22 | This takes the sound and puts it into a special kind of a
clipboard where it samples the sound it remembers the sound.
| | 03:31 | It's not the clipboard, it's a separate clipboard.
| | 03:33 | There is really kind of three inside soundtrack.
| | 03:36 | It's probably more technically but there
is the standard copy Paste Clipboard.
| | 03:39 | There is an Ambient Noise Clipboard and there is a Noise
Clipboard we will be seeing all of them in just a bit.
| | 03:45 | Now let's listen to this.
| | 03:49 | Okay so we want to get rid of, we want to replace
with ambient noise everything that I have selected.
| | 03:56 | Now first we have sampled the ambient noise and we select it what
we want to replace and because I know that it's on the Zero Crossing
| | 04:02 | because I have got that set to Zero Crossing and because I
have turned snapping on I don't need to zoom in but if I did,
| | 04:09 | we will just test this and see maybe it's not paying attention.
| | 04:13 | Oops, right on the Zero Crossing, perfect.
| | 04:16 | Now we go back up to Process Ambient Noise we replace
with ambient noise, watch what happens to the wave form.
| | 04:24 | We select it.
| | 04:26 | Whoop, all that's gone, listen.
| | 04:33 | Now is that sweet or what?
| | 04:35 | All that background ruckus that's going on has been replaced
with that constant, nice, steady state room tone which allows us
| | 04:44 | to not have the viewer get distracted by saying what's
going on with the dishes they dropped in the kitchen
| | 04:49 | and because it's the exact same room tone that's existing when he starts
to talk it blends perfectly with the sound of the room where he is talking.
| | 04:57 | I do this all the time to get rid of breaths that
I don't want, words that don't make any sense,
| | 05:03 | sounds that don't need to be there this is just constantly used.
| | 05:08 | A very cool affect, so the way it works is select the area that
has the room tone you want to keep, set the ambient noise print,
| | 05:15 | select the area you want to replace it and say replace with ambient noise.
| | 05:20 | You could copy to the clipboard that's what that's from and
adding ambient noise adds the ambient noise underneath the voice.
| | 05:27 | The problem is I would much prefer to
add the ambient noise in a separate track
| | 05:32 | in a multitrack project so I can precisely control the level and the sound.
| | 05:37 | Here I am just going to replace it.
| | 05:38 | There I would rather do that as the mix
because adding it really combines it.
| | 05:42 | It's just a mess so I don't want to do that.
| | 05:44 | It's nice that it's there.
| | 05:45 | I am sure that some people thrilled with it but to me way it's way more
trouble than it's worth, just add ambient noise as a separate track
| | 05:51 | but here this allows me to get rid of stuff that I don't
want the stuff that I do, the sound of the room, very cool.
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| Cleaning up audio manually using sample values| 00:00 | When we are working with audio inside Final Cut,
we can make audio adjustments to the 1/100th
| | 00:06 | of a frame but 1/100th is nowhere close to 1/48000th.
| | 00:12 | When we are working inside Soundtrack we can
make adjustments down to the individual sample.
| | 00:19 | Let me illustrate.
| | 00:21 | Let's just temporarily uncheck the Analysis tab.
| | 00:24 | Now for those of you that have been a long time in
the industry, you can pick your jaw up right now.
| | 00:29 | This is a classic example of non-destructive audio editing.
| | 00:33 | If I want to see what it looks like when I replace the ambient
noise, you check it and notice that the action has been applied.
| | 00:39 | If you turn it aside if you like it better with or without you can
uncheck it and it temporarily removes that change that we just made.
| | 00:49 | And if you wanted to delete the action,
just hit the Delete key and poof it's gone.
| | 00:55 | I wouldn't bring it back with the Undo command, Command+Z.
| | 01:00 | Notice this thin line under here.
| | 01:02 | This line represents the entire waveform and what we replaced
with ambient noise is this itty-bitty little square right there.
| | 01:13 | So although I had the entire waveform to work with, this action shows
me exactly what part of the waveform I was replacing with ambient noise.
| | 01:23 | So using actions, we can apply an action, we can
temporarily remove an action, we can delete an action
| | 01:32 | and we could even change the stacking order of actions.
| | 01:35 | They process in a different order by grabbing and dragging them up or
down, but right now we have got it turned off, I will show you why.
| | 01:44 | See this spike right here, it's a big clash
(Clip plays: Crashing noise.) Right there.
| | 01:49 | What a ka-chunk that is.
| | 01:50 | So I want to put my playhead on top of it and
Command + Plus and Zoom In or Scroll Wheel Zoom In.
| | 01:57 | And now I have got a spike, I want to put my playhead right, I want to put
my play- I want to put my playhead on this spike and it's not going there.
| | 02:07 | Well that's because snapping is turned on and
we have asked it to snap to Zero Crossings
| | 02:16 | and there is no Zero Crossing anywhere that I am clicking my mouse.
| | 02:20 | So if I want to put the playhead somewhere it doesn't want to go, be sure
snapping gets turned off by typing the letter M. And now you can click
| | 02:29 | and your playhead goes right exactly where you want it to go.
| | 02:32 | Let's keep typing Command + Plus, Command + Plus, Command + Plus.
| | 02:37 | See those dots?
| | 02:39 | Those dots are the individual samples that the computer records
when it captures your audio that measures the volume of the sound.
| | 02:50 | If there is no volume, all your samples
are sitting here on the Zero Crossing Line.
| | 02:54 | If there is lots of volume there are bouncing way
up and way down but I want to get rid of that clang.
| | 03:01 | Now, let's go out to the Tool menu.
| | 03:03 | Our normal selection tool is there but if you go to the Pencil tool
and click, hold and drag I can pane out that whole clash instantly
| | 03:14 | by redrawing the samples right along the Zero Crossing Line.
| | 03:18 | And now it's not there anymore.
| | 03:21 | That clash is gone and look at what happens over here in the Actions menu.
| | 03:27 | If I wanted to see what it sounds like before uncheck it, after turn it on.
| | 03:32 | You want to replace that before you do the ambient
noise just grab it and change the stacking order.
| | 03:37 | See how I click hold and drag, I can change the order in which,
all of a sudden my audio entity is totally non-destructive.
| | 03:45 | Two years ago nothing did this.
| | 03:47 | Now we take it for granted inside Soundtrack.
| | 03:50 | This is- my poor brain just exploded, little brain
pieces flying all over the room when I first saw this.
| | 03:57 | This is magical.
| | 03:59 | To redraw the samples you zoom in until you see the individual
dots, you select the Pencil tool and you can draw your own circle,
| | 04:09 | you can draw your own volume but what you generally do is you are
just going to paint it across as close to the Zero Line as you want.
| | 04:16 | This ability to edit samples down to 1/48000th
of a second can really bail you
| | 04:23 | out when you have got a really high loud
transient that's really-really short.
| | 04:28 | Just knock the volume off, it doesn't have to
go to the Zero Crossing, just make it shorter.
| | 04:32 | Or if it needs to disappear completely,
pane it across at the Zero Crossing.
| | 04:38 | But sometimes you don't want to fix something manually,
sometimes you have got so many pops and clicks you have to worry
| | 04:43 | about that it would be nice if you could fix it automatically.
| | 04:47 | And you can with the Analysis tab and that's next.
| | Collapse this transcript |
| Cleaning up audio automatically using the Analysis tab| 00:00 | What we just did is that we manually cleaned up a click or
a pop by painting the sample values using the Pencil tool.
| | 00:09 | But sometimes we get a long clip and we want to deal
with clicks and pops in a much more automated fashion.
| | 00:14 | Well, Soundtrack makes that easy by going to the analysis tab.
| | 00:18 | First notice that the actions tab, it's been keeping
track of all the changes that I have made to this file.
| | 00:23 | I have got to replace with ambient noise and
I have got my samples that I've painted out.
| | 00:27 | If you keep your eye right here, what
would happen if I turn sample values off?
| | 00:32 | See how that spike comes back, that's the one that I painted out by
adjusting the values of the samples themselves with the Pencil tool.
| | 00:39 | I am going to turn this on and go to the analysis tab.
| | 00:41 | In the analysis tab, we have the ability, I am just
grabbing this double bar here and dragging it up and down.
| | 00:50 | We can get rid of clicks and pops or power
line hum or DC offset or phase or Clip signals.
| | 00:56 | The two that have been most useful to you
will be clicks and pops and power line hum.
| | 01:00 | If we turn on the analysis by checking clicks and pops and turning it down,
by default it has a threshold of 0, which means it doesn't find anything
| | 01:09 | in the clip or if it has a threshold of
100 where it finds everything in the clip.
| | 01:16 | You could go through a long analysis of exactly where to set the threshold
and I am sure that's useful, I have never found it make any sense.
| | 01:23 | So I just set my threshold to 40.
| | 01:25 | So it finds a lot of stuff and ignores lots of other stuff.
| | 01:30 | Once you've got your threshold set, you click Analyze.
| | 01:32 | It goes through your entire sequence and then it analyzes it.
| | 01:37 | It looks for everything that it thinks is a click or a pop.
| | 01:40 | Now, so far, it's just looking, hasn't made any changes.
| | 01:44 | And when it does, notice that it highlights that
which it thinks is a click or a pop in orange.
| | 01:50 | We will look at the whole sequence.
| | 01:51 | Notice that there is stuff in all the different
tracks that it thinks is a click or a pop.
| | 01:57 | If I click on the first one, notice it selects the first one on the left
and as I go down here, it just moves me through all the different things
| | 02:05 | that it thinks are a click or a pop as it's moving through.
| | 02:11 | Here we go, let's select that one right there and we
will zoom in on it, put our playhead on it and zoom in.
| | 02:21 | Here we go.
| | 02:22 | There is our click and our pop.
| | 02:24 | Now, this clearly is not the click.
| | 02:26 | Let's see if this is the click, but it highlights on
the salmon color what it thinks needs to be tweaked.
| | 02:32 | Now, if you wanted to get a closer look at this, you click on
this magnifying glass and it zooms in on that particular effect,
| | 02:39 | which is very cool especially if you have zoomed way out
like this being able to quickly take a look at it by click
| | 02:44 | and holding that magnifying glass is a nice feature.
| | 02:48 | Let's zoom in so we can see what's going to happen here.
| | 02:51 | Now, with this selected, I jumped out
because my playhead wasn't closed to it.
| | 02:55 | With that selected, click Fix.
| | 02:58 | It goes through and it fixes the pop, and look
at there is nothing that's really big anymore.
| | 03:03 | It's totally taking my click and pop away.
| | 03:06 | So I could fix everything that it finds or I could simply go through
one at a time and fix those that it says need to be adjusted.
| | 03:14 | This is a very nice routine because it doesn't drop in silence.
| | 03:17 | It doesn't make the click and pop disappear.
| | 03:20 | It just makes them much, much less loud so they get buried in the mix
and then it becomes just part of the room tone in the environment.
| | 03:26 | Something that I also found works really, really well is power line hum.
| | 03:31 | I don't know about you, but I frequently seem to be working with brand new
audio people who think that it looks best if they run the power line next
| | 03:39 | to the microphone line preferably for about 600 feet and I have
got this massive 60 cycle AC hum going through all of my audio.
| | 03:48 | Well, by turning on power line hum and then analyzing the
entire clip, Soundtrack will find that hum and remove it,
| | 03:56 | plus remove the harmonics and does a really, really nice job of it.
| | 04:00 | Now, if it's any other hum other than power line, it won't find it,
| | 04:04 | it will have to use other techniques for
that, and I will show this to you in a minute.
| | 04:08 | But if you have got clear AC hum that's sitting
in your mic lines, this will clean it up.
| | 04:14 | It's in the analysis tab, it's clicks and pops, adjust the threshold
and click analyze, select what you wanted to fix and say fix it;
| | 04:23 | and if you want to get a closer look, click and hold the magnified button.
| | 04:28 | But there is still more that we can do with repairing
audio, for instance, we want to insert silence.
| | 04:35 | I will show you how to do that next.
| | Collapse this transcript |
| Cleaning up audio with silence and noise| 00:00 | Earlier, we inserted ambient noise to get
rid of unwanted noise in the background.
| | 00:04 | Well, there is another kind of insert that we can do.
| | 00:06 | We can insert silence and noise and/or tones.
| | 00:11 | I will just show you how they are.
| | 00:12 | These are specialized but at least you should know how they work.
| | 00:15 | So I have gone back to our audio and I have turned on Replace
with Ambient Noise so that we have this generic room tone.
| | 00:22 | (Clip plays: Background noise.) Okay, cool.
| | 00:22 | I am going to select that room tone and I am
going to replace it, Process, Insert, Silence.
| | 00:31 | Here's why you always want to work with room tone and
not just drop in silence, listen to the difference.
| | 00:38 | (Clip plays: Background noise.) See how it says "Bad edit done here."
| | 00:45 | (Clip plays: Background noise.) The room tone is believable.
| | 00:47 | The absolute silence, where the room isn't
making any noise at all, is not believable.
| | 00:53 | But there are times in the dialogue, for instance, where you've
got two people talking and room tone coming in from both mics,
| | 00:59 | maybe you want to kill the room tone coming in on the mic at the person
that's not talking so you don't have too much room tone going on.
| | 01:06 | When I record dialogues with people, I will often time replace with silence
on one mic to avoid my room tone having too overwhelming of presence.
| | 01:15 | Well, you can select the area, with it
selected, go to Process, Insert, Silence.
| | 01:21 | Let's just click on here in this Action
tab, hit the Delete key, make it go away.
| | 01:25 | And notice that our sound has come back again.
| | 01:27 | Let's select the area that we want to replace with something else.
| | 01:30 | Go to Process, Insert and this time, we are going to add Noise.
| | 01:34 | There is two general kinds of noise.
| | 01:36 | There is white noise and there is pink noise.
| | 01:39 | White noise is this.
| | 01:41 | Let's just drop this to -12 or we are
all going to go deaf here, and listen.
| | 01:49 | (Clip plays: Background noise.) Right, that's about 3 o'clock in
the morning, the TV set got left on, persons asleep on the couch,
| | 01:54 | that's the kind of sound that you would
want, just static noise, not very pleasant.
| | 01:59 | Command+Z to undo.
| | 02:01 | Pink noise on the other hand is at much lower
frequency, much warmer, much more flattering noise.
| | 02:08 | We will set this to pink, again -12 and
listen to the difference, this is pink noise.
| | 02:17 | (Clip plays: Background noise.) Now, that could be the sound of surf
in the background, that could be just general room tone if you need
| | 02:23 | to manufacture it, you don't have anything else to work with.
| | 02:26 | Pink noise could become useful to you and the way that
you would add it is you select the area that you want
| | 02:32 | to add the noise to, Process, Insert, Noise, and set it to pink noise.
| | 02:39 | Now, I am not saying you should on a regular basis, I
have used it a couple of times but when I needed it,
| | 02:44 | I needed it big time and it's nice to know that it's there.
| | 02:48 | Still one more kind of thing, let's select an area.
| | 02:50 | Process, Insert, Waveform.
| | 02:53 | There is four different waveforms that Soundtrack can generate.
| | 02:58 | A Sine wave, which is a normal waveform, and
then variations, sawtooth, square and triangle.
| | 03:03 | And if you have got good speakers and good
ears, you will be able to hear a difference.
| | 03:07 | You get to pick the frequency that you want, you get to pick
the level at which you want it set, let's say -12 and listen.
| | 03:14 | Here it comes, brace yourself.
| | 03:16 | (Clip plays: Long beep.) Right, that's the standard tone that we are
used to whenever we are doing test tones at the beginning of a tape.
| | 03:24 | We can add our own tests in here.
| | 03:26 | And there is a value for this kind of stuff but I will confess
that I have not stayed up late at night worrying about whether
| | 03:32 | or not I can add tones inside Soundtrack, but if you need
to, you can, it's inside the Process menu, Insert, Waveform.
| | 03:41 | But there is two more that we can do with audio repair.
| | 03:45 | For instance, how do we take a stereo
clip and convert it to mono, that is next.
| | Collapse this transcript |
| Converting stereo to mono| 00:00 | Many times, we will shoot something, either an interview where we've got
one person on one channel and a different person on a different channel,
| | 00:06 | or we've got two different mics on the same talent,
and we've decided that we want to take just one
| | 00:11 | of those audio feeds, such as the case here in the stereo clip.
| | 00:16 | (Clip plays: "So here's the final...")
He is wearing a lavaliere on track 2.
| | 00:18 | We've got a boom mic covering him on track 1.
| | 00:21 | Clearly, the lavaliere is better in this
particular case and I want to convert this to mono.
| | 00:26 | You could do this inside Final Cut.
| | 00:27 | But what happens if the recording started inside Soundtrack?
| | 00:31 | It's much easier to convert to mono inside
Soundtrack in that case, and here is how.
| | 00:35 | Just to give ourselves something to work with, I will take
this stereo clip which is in the Soundtrack Pro assets folders,
| | 00:41 | select everything, send it to an audio file project, save it there.
| | 00:46 | And it opens up my file.
| | 00:47 | Notice the lavaliere mic on channel 2, that's the right-hand track
on the bottom, and the boom mic, much noise on the top channel.
| | 00:56 | When I play it.
| | 00:57 | (Clip plays: "So here's the final dish ready for you to enjoy.
| | 00:59 | Thank you for visiting the Taj Cafe...") Clearly, we've got much
greater volume and much better quality on the right-hand track.
| | 01:09 | So what we want to do is we want to convert this
whole clip to mono, and the way we are going to do
| | 01:13 | that is select everything, go to the Process, Convert to Mono.
| | 01:18 | Now, the conversion of mono can only be for the entire clip.
| | 01:22 | I can't convert just a portion of this to mono.
| | 01:24 | When I select it, it gives me a dialog do you
want to merge the left and the right channel?
| | 01:29 | So you essentially have a mono feed based on both channels.
| | 01:32 | Or do you just want to use the right channel or just the left?
| | 01:36 | In this case, I just want to use the right channel so I
will select Use right channel, click OK and it goes through.
| | 01:42 | It says it's going to have to flatten, which means it's going to
take all of our actions and make them a permanent part of the file.
| | 01:47 | So I click OK and there is my mono clip.
| | 01:50 | And when I listen to it.
| | 01:51 | (Clip plays: "So here's the final dish ready for you to enjoy.
| | 01:52 | Thank you for...") Okay, much, we've got all the
good quality, we don't have that other channel.
| | 02:01 | Now, here's what I will do.
| | 02:02 | When I am recording interviews and I've got two people, one
on each track, is that I will record it as a stereo pair.
| | 02:08 | Because editing a stereo pair is a lot easier inside
the audio file project than editing two mono tracks.
| | 02:16 | Once I have got the basic editing done, I have cut out the hums
and the ahs, and I have got all the content shifted around,
| | 02:21 | I will then take that edited file and convert to mono.
| | 02:25 | So I now have speaker one here.
| | 02:27 | I will then do a Save As on this file and save it as, for instance,
interviewer and I will save that as a file and I will save it
| | 02:39 | as a AIF file because I don't need the project anymore.
| | 02:43 | We will save it at 16-bit 48K, click Save.
| | 02:47 | Okay, I have now saved that file.
| | 02:49 | Here's the sneaky part.
| | 02:51 | I then go and undo the conversion to mono.
| | 02:54 | I then convert to mono again but this time,
I take the other channel, the left channel.
| | 03:00 | It says flattened, that's okay.
| | 03:02 | Now, I have got the other person, I will do a file Save As and I will
do interviewee, and I will save that to the desktop as an AIF file.
| | 03:14 | And again, 16, 48, that was a good choice, click Save.
| | 03:19 | Now, on my desktop, I have got my interview file and my
interviewee file which I can unload to a Multitrack Project.
| | 03:27 | So I record stereo to make the initial add it a lot easier then save
them out as a mono pair and add it that to a Multitrack Project.
| | 03:35 | This is just the technique that I use on a regular basis
whenever I am recording and then you just spit it out.
| | 03:40 | So we can use Convert to Mono to take a stereo track and convert it.
| | 03:45 | Now, if you've got a four-track track like the P2 audio,
we are going to have to get rid of some tracks beforehand.
| | 03:52 | But if you are recording just the stereo file
converting to mono can make your life a lot easier.
| | 03:56 | But there is still more and it's very cool,
and it's the Time Stretch tool, and it's next.
| | Collapse this transcript |
| More repair tricks and using the Time Stretch tool| 00:00 | Here's an example of where we would want to use another tool at
the top of our toolbar which is called the Time Stretch tool.
| | 00:06 | I have got some voiceover work here and
the problem is it runs a little bit long
| | 00:10 | and I need to change the time to get it
to fit within the time that I have got.
| | 00:14 | But I have also used a couple of other tools, which
is building on what we have talked about before.
| | 00:19 | Let me illustrate.
| | 00:20 | For instance here, I have replaced some initial
work with some ambient noise and what I want to do,
| | 00:27 | or the problem is the ambient noise is too loud
and it's got that pulsing associated with it.
| | 00:33 | So what I am going to do here is I am going
to double-click this Adjust amplitude.
| | 00:38 | Notice that I have already applied this.
| | 00:39 | This gives me the chance to dial in a specific level setting.
| | 00:43 | I want to have this to be, say, -10 dB.
| | 00:47 | This is a good example of when you want to use the adjust amplitude
not to make something louder but to make it smaller, softer.
| | 00:54 | So here, notice what happens when I pull that sound down.
| | 00:57 | (Clip plays: "Welcome to the Taj Caf?...) If you need to adjust something,
double-click on it, that opens up a window and you can tweak your setting
| | 01:06 | to make sure that - (Clip plays: "Welcome to the Taj Caf?, one of...) Now,
because that I have adjusted this level so it's not quite so in your phase,
| | 01:13 | you don't hear the rhythmic pumping because I have
replaced it with a very, very short loop of ambient noise.
| | 01:19 | And if I wanted to make changes to it, I just double-click
it, it opens up the window and allows me to reset this
| | 01:25 | so I can set it to be whatever level I wanted to be at.
| | 01:31 | (Clip plays: "Welcome to the Taj Caf?, one of over 90...) So, first,
the Actions menu not only allows me to change the processing order
| | 01:36 | or to delete it or temporarily turn it
off if I double-click on that action,
| | 01:41 | it allows me to change my settings and
go back and redo the same action again.
| | 01:45 | (Clip plays: "Welcome to the Taj Caf?...) Okay, now, here I have
deleted some audio with the beginning so we will turn that on.
| | 01:51 | I deleted some audio with the end, I replace some audio with the end.
| | 01:55 | And then, I will adjust the ending audio, so it's not
quite as in your face and now when we listen to the end....
| | 02:01 | (Clip plays: inaudible.) So we have got that ambient noise that
we have added to sort of smooth out the beginning and the end.
| | 02:07 | So this is just another example of how the actions can
make your life a lot easier and allow you to make changes.
| | 02:13 | Now that we have got this clip prepped,
now we have to make it longer or shorter.
| | 02:17 | As with all things, we would select the portion of the clip that we
want to adjust and then we go up to this fourth tool from the top,
| | 02:24 | this is the Time Stretch tool and I grab the
trailing right edge and I click, hold and drag.
| | 02:30 | And what I have done is I have just changed the
timing of the clip without changing the pitch.
| | 02:36 | (Clip plays: "Welcome to the Taj Caf?, one of over 19 resteraunts
owned by our family...) So I have sped him up but his tone,
| | 02:39 | his pitch remains the same or here, I have slowed him down.
| | 02:43 | (Clip plays: "Welcome to the Taj Caf?, one
of over 19 resteraunts owned by our family.
| | 02:43 | Today we are going to show you...) So what I am able to use the Time
Stretch tool for is to be able to adjust the speed of the specific word
| | 03:00 | or the syllable of a word or a sentence or
the entire piece without adjusting the pitch.
| | 03:09 | And the best part about it is if you decide you don't
like it, you can simply take the Time Stretch tool,
| | 03:18 | highlight it in the Actions menu and delete
it and everything is back to normal.
| | 03:22 | The Time Stretch tool was invented to allow us to
do what's called ADR, Automatic Dialog Replacement.
| | 03:28 | So we go back into a studio, we watch the screen, we narrate again and
if the lip sync is off, we can move it by using the Time Stretch tool
| | 03:36 | to get the lip sync perfect as the new
recording gets matched with the old picture.
| | 03:41 | Or what I use it for a lot is I do a lot of voiceover work and
inevitably, I am given 35 seconds of copy to fit into 291/2 seconds.
| | 03:50 | So I do the best reading that I can, get it to be as quick as I can and
then drop it into the Time Stretch tool and just speed it up slightly
| | 03:57 | without changing the pitch, which allows me to
squeeze 35 seconds a copy and with 30 seconds slot.
| | 04:03 | This is the same thing they use at the end of spots where they are
doing legal copy, where they are reading at a blinding rate of speed,
| | 04:09 | they are using the equivalent to the Time Stretch tool
to keep the pitch the same and speed up the tempo.
| | 04:15 | But there is still one more tool that I want to show you that is
probably the best tool of all when it comes to repairing audio,
| | 04:22 | and that's the ability to reduce noise, and that's next.
| | Collapse this transcript |
| Reducing noise| 00:00 | One of the most impressive features inside Soundtrack Pro,
both 1 and 2, is its ability to reduce the noise in a clip.
| | 00:08 | For instance here I have a speaker in a relatively noisy room.
| | 00:12 | (Clip plays: So here is the final dish ready for you to
enjoy...) Now I like the room tone when he is not talking
| | 00:21 | but I would like to reduce the room tone where he is talking.
| | 00:25 | Now notice that I said reduce, not remove.
| | 00:28 | If I have to remove the sound, I am going to have to re-record
but I can make a noise quieter as long as it's a repetitive noise.
| | 00:36 | Something that doesn't have a frequency shift, a police car going to
by, a car zooming past, the frequencies are changing, that won't work.
| | 00:44 | But an air-conditioner home or a low machine rumble or traffic in
the distance where the frequency remains the same that we can reduce.
| | 00:53 | The process rocess is relatively simple.
| | 00:55 | What you do is you load your clip into Soundtrack, you select that which is
pure noise (Clip plays: Background noise.) where the person is not talking.
| | 01:03 | Go to Process, Noise Reduction, Set Noise Print then
select the portion that you want to reduce the noise from.
| | 01:11 | In general I would have the noise stay full volume
when there is nobody speaking to take advantage
| | 01:16 | of the room tone then simply knock the noise down when they are speaking.
| | 01:21 | So I am going to get rid of the noise for his speech right here.
| | 01:25 | So I select the area that has the speech that I want to reduce the
noise from to make it easier for me to understand what he is saying.
| | 01:32 | Once I have selected what I want to reduce the noise
from go to Process, Noise Reduction, Reduce Noise.
| | 01:38 | Now the way the flow works is this, the first thing I will do
is I will adjust the noise threshold until the noise is gone.
| | 01:46 | However his voice is going to get a little electronic and spiky.
| | 01:50 | So then after I have got the noise go on I will dial back
in a little bit of the noise until his voice sounds perfect.
| | 01:57 | Now what perfect means to you and what it means to me
will be different and you will need to re-listen to this
| | 02:02 | on your own speakers because every situation is different.
| | 02:05 | There is no one setting that works well.
| | 02:08 | So first we are going to hear the noise disappear then we are
going to dial the noise back in until his voice sounds normal.
| | 02:15 | So we start by clicking the right arrow,
don't hit the spacebar, click the right arrow.
| | 02:19 | (Clip plays: So here is the final dish ready for you to enjoy.
| | 02:19 | Thank you for visiting the Taj Caf?.
| | 02:19 | Yummy.) Okay now we have taken out a fair amount of the noise, we have
got a little bit of squirrelly electronic sound in the background.
| | 02:38 | So we are going to dial some of that out by putting the noise back in.
| | 02:41 | (Clip plays: ...for you to enjoy.
| | 02:41 | Thank you for visiting the Taj Caf?.
| | 02:41 | Yummy.) Then you adjust these until you get the right
blend of the voice and background sounding as normal
| | 02:55 | as possible with the greatest amount of reduction in noise.
| | 03:00 | To hear what you are taking out click Noise Only.
| | 03:04 | And this highlights, this allows you to hear, what you are removing.
| | 03:09 | If you want to compare and contrast between the
filter in and the filter out hit the Bypass button.
| | 03:15 | (Clip plays: ...the final dish ready for you to enjoy.
| | 03:15 | Thank you for visiting the Taj Caf?.
| | 03:15 | Yummy.) If this is yellow the noise will bypass the filter.
| | 03:21 | When this is not yellow you hear the entire piece
with the filter, so this is the bypass filter.
| | 03:30 | Sorry we will turn that off.
| | 03:34 | (Clip plays: ...for you to enjoy.
| | 03:34 | Thank you for visiting the Taj Caf?.
| | 03:34 | Yummy.) This is before.
| | 03:37 | This is after.
| | 03:40 | (Clip plays: ...Here is the final dish ready for you to enjoy.
| | 03:40 | Thank you for visiting the Taj Caf?.
| | 03:41 | Yummy.) Now in this particular case the noise is far enough in
the background and his voice is far enough in the foreground
| | 03:45 | that I have in real life would probably let this go.
| | 03:48 | But there is other times where having the
noise reduce can make a huge difference.
| | 03:53 | If you want a voice to be intelligible,
you will want to preserve the treble.
| | 03:57 | If you want the voice to be warm, inviting
and sexy, you want to preserve the bass.
| | 04:03 | Vowels live in the lower frequencies but
consonants live in the higher frequencies.
| | 04:09 | And consonants is what makes the words sound different.
| | 04:13 | Because I want to make sure people can understand what he is saying
I am going to add a little bit of the treble just to make sure
| | 04:18 | that I can hear the consonants go through
and make sure that he stays intelligible.
| | 04:23 | Once I am happy with all of my settings, then I click Apply.
| | 04:27 | And now I have taken out the noise if
you listen to it hit sounds like this.
| | 04:31 | (Clip plays: ...
| | 04:31 | So here is the final dish ready for you to enjoy.
| | 04:31 | Thank you for visiting the Taj Caf?.
| | 04:31 | Yummy.) And now we are back again.
| | 04:39 | You don't want to take the noise out of the entire clip
because that gives up the room tone that you are using
| | 04:46 | to establish your environment at the beginning and at the end.
| | 04:49 | You are just taking off the noise where he is talking which is why we
select the area and then once it is selected we take the noise out.
| | 04:56 | There is some tremendous power inside the Audio File project
of Soundtrack to repair and improve the quality of our audio.
| | 05:05 | In fact just to be able to use these features alone two or three years
ago didn't exist at all and I still remain amazed at what they can do.
| | 05:14 | There is still one more thing I want to show you.
| | 05:15 | We have spent all of our time working inside the Audio File project.
| | 05:21 | New with Soundtrack Pro 2 is the ability to do very similar functions
inside the File Editor, inside a Multitrack Project and that is next.
| | Collapse this transcript |
| Cleaning up explosive Ps and Ts| 00:00 | I should probably mention this before we leave the discussion on editing an
audio file but many times when you are working with a narrator who loves,
| | 00:07 | like I do, to sit right on top of the microphone
while they are doing their talking you end
| | 00:11 | up with an explosive P, which is popping directly into the mic.
| | 00:15 | Now while there are mic techniques you can use to minimize that sometimes
you are face to face with an explosion that you would like to get rid off
| | 00:21 | but you can't get rid of the P. It makes the word make too much sense.
| | 00:24 | So what I wanted to do is to show you a very quick way of
editing a plosive P or a plosive T inside the audio file.
| | 00:32 | As long as we are here, I figured I could do that.
| | 00:34 | So let's record something.
| | 00:36 | We click the Record button we have armed the track.
| | 00:39 | "Peter Piper Picked a Pack of Pickled Peppers."
| | 00:42 | That's enough Ps to get anybody just completely hung over.
| | 00:45 | Double click the clip and let's get rid of
the right hand side here Ctrl+D, Ctrl+A,
| | 00:52 | Shift+Z and look at this we have got enough
explosive Ps to kill some old children.
| | 00:55 | So what we want to do is to zoom in on this.
| | 00:58 | There is our plosive P. This is the attack to the P there is the
explosion of the P and here's the end of the P. Well the part
| | 01:07 | that is offensive to everybody is this part right in here.
| | 01:12 | So what we are going to do is we are going
to sort of just kill that by selecting it.
| | 01:16 | Notice that I have kept the very beginning of
the P because that's a character that has not
| | 01:21 | yet exploded and we get rid of the part that has exploded.
| | 01:24 | So we would just select this start at the Zero
Crossing and going to right about here and when we do-
| | 01:31 | and let's just put a marker here so we
can see where we are, oops here we go.
| | 01:35 | Let's play that through.
| | 01:39 | (Clip plays: Pickled, pickled, pickled, peppers.)
So what we did is we get rid of the plosiveness..
| | 01:43 | (Clip plays: Peter Piper picked a pack of- picked a
pack...) right there we will get rid of this one on picked.
| | 01:51 | So we will just Zoom In Command+Plus.
| | 01:53 | We will find the spot where the plosion occurs right there.
| | 01:57 | Notice I am going Zero Crossing to Zero Crossing, hitting the Delete
key, put in a marker just so we can see where we were and play it.
| | 02:05 | (Clip plays: picked a pack of...) See,
we got rid of the plosion completely.
| | 02:08 | You don't get rid of the whole letter and you don't get ride of
the start to the letter you keep that little bit that's there.
| | 02:13 | You just get rid of that real heavy part near the
beginning and that plosion is going to disappear.
| | 02:17 | You have the same characteristic for the letter T. You
cannot do this with sync sound but it's a cool technique.
| | 02:23 | I have been using it for years and thought I would share it with you.
| | Collapse this transcript |
| Using the Lift and Stamp tools| 00:00 | Rounding out our discussion of audio repairs are the Lift and Stamp tools.
| | 00:04 | These are brand new in Soundtrack Pro 2.
| | 00:07 | The Lift and Stamp tools don't really repair anything.
| | 00:10 | What they do is they make it easy to copy and
paste repairs made from one clip to another.
| | 00:16 | Essentially what they do is they allow you to
copy effects and repairs applied to one clip
| | 00:20 | and paste them into one or more clips in the same Timeline.
| | 00:25 | This is very cool.
| | 00:26 | Let me show you how it works.
| | 00:28 | I have created a new project called 03 Nazarian Lift and Stamp
and what I have done is I have applied a noise reduction setting
| | 00:35 | and I have applied an EQ filter because the
Lift and Stamp works with both of these.
| | 00:41 | The Lift and Stamp tools are in the Timeline.
| | 00:43 | This first one is the Lift tool.
| | 00:44 | Keyboard shortcut is U+U, and this is the Stamp tool, keyboard
shortcut U. Lift is the copy function, Stamp is the paste function.
| | 00:54 | So I select a Lift tool and a new HUD opens up called the Sound palette.
| | 00:59 | And it gives us the ability to say, do you want to lift equalization
information from a clip or do you want to lift process effects
| | 01:06 | like noise reduction or ambient noise removal or
goodness knows what else, but it's in the Process menu.
| | 01:11 | In this particular case I am going to have it lift both.
| | 01:14 | I am going to select here by clicking on it and it
automatically loads the equalization information,
| | 01:20 | how I have changed a particular filter, and the Reduce Noise operation.
| | 01:25 | Now I have to decide where to copy it.
| | 01:27 | I am going to copy it to these other Bruce
clips which have not yet been affected.
| | 01:31 | So I will select here and click Paste and notice that
it now has stamped- notice the way waveform changes.
| | 01:38 | It's taken out the name and it's applied EQ to all these clips.
| | 01:42 | These means that I can set it up one time, spend the time
making it perfect and then very quickly lift the information,
| | 01:48 | copy it and paste it, stamp it to a variety of clips.
| | 01:52 | I could if I wanted, deselect the Stamp tool for instance
here and select a range of tools and then go to the Stamp tool
| | 02:00 | and apply them to all the selected clips at one time.
| | 02:03 | So while Lift and Stamp don't really help us with the repairing, they
help us a lot with the process of repairing all the rest of the clips
| | 02:11 | by giving us a speedy way to copy and paste the repairs that we have made.
| | Collapse this transcript |
| Using the File Editor| 00:00 | We have spent this whole chapter talking about how
we can repair the audio using the Audio File project,
| | 00:06 | but there is a new feature inside Soundtrack Pro 2 that allows us to do the
exact same thing inside a multitrack project, it's called the File Editor.
| | 00:15 | To load a file into the File Editor, simply click the file
one time and it automatically loads it into the File Editor.
| | 00:22 | Just to give ourselves some more room to work, we will type Control+D
and open this up and notice that the Lower Pane gives us the File Editor
| | 00:31 | and it has the same tools inside the File Editor
that we were use to inside the Audio File project.
| | 00:37 | It's just that it now fits it onto the same screen.
| | 00:40 | Those are files in the multitrack project.
| | 00:43 | If you have small repairs the File Editor is going to
be perfectly okay, but if you really need to expand
| | 00:48 | and have it fill the whole screen then I found that it's easier to
in fact double click a file and that automatically takes the file
| | 00:56 | from the multitrack project and opens it up into an audio file project.
| | 01:02 | And it's dynamically linked, so any changes
that I make here will automatically show
| | 01:07 | up in file here, the same way as to I get it inside the File Editor.
| | 01:11 | Just as we can select simply by click hold and dragging we have
access to all the different elements inside the Process menu
| | 01:17 | that we have been looking at so far in this chapter.
| | 01:20 | We have all the same tools with a couple of extras.
| | 01:23 | For instance here, notice that I have both him talking
and I have got some natural sound, when I play this...
| | 01:31 | (Clip plays: Let's go to the kitchen and we...) I am not
exactly sure if I am listening to his voice or the B-roll
| | 01:36 | from the kitchen, well that's where the Solo button comes in.
| | 01:41 | When I hit the Solo button (Clip plays:
Here's your chance to peek into one.
| | 01:46 | Let's go to the kitchen and ...) It automatically turns
off all the B-roll sound so I adjust solo on the one track.
| | 01:51 | That's his sync track up here that I can make adjustments to.
| | 01:55 | Solo allows me to hear just him when it's
on or all the tracks when it's off.
| | 02:00 | Notice that what it's doing is it's lighting the mute
buttons on all the tracks, so we can hear what's going on.
| | 02:06 | Another button is this Link button.
| | 02:08 | What the Link button does is it allows us to build a cycle region.
| | 02:11 | A cycle region is a repeating area inside the Timeline
that we can use to hear a specific effect over and over
| | 02:18 | and over again as we adjust it to make it sound good.
| | 02:21 | Well, what this allows me to do is to draw a selection area down
here and in selecting it, it draws the same cycle region up here,
| | 02:30 | so I am able to hear all of my tracks as I play this
through, so as I make adjustments in the File Editor,
| | 02:36 | I can hear them instantly with all the
other tracks playing in the background.
| | 02:41 | If all I need to do is to hear a single track,
it's easier to load it to the audio file project.
| | 02:46 | If on the other hand I want to hear that track in conjunction
| | 02:50 | with all the other tracks the only way that
I can do that is inside a multitrack project.
| | 02:56 | The nice thing is the tools are exactly the same.
| | 02:59 | It's just a question of which one works the best for you
given what you want to hear and how much space you need.
| | 03:05 | There is a tremendous amount of capacity for repairing
and restoring and making your audio sound beautiful
| | 03:11 | and I hope that now, you have a much better handle on how it works.
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|
|
11. Frequency and Spectrum EditingFrequency spectrum editing overview| 00:00 | One of the exciting new features inside Soundtrack Pro 2
| | 00:04 | is the ability to look at the clip
not just in terms of its waveform,
| | 00:08 | but also in terms of its frequency,
| | 00:10 | and not only to look at it, but to edit it.
| | 00:14 | You see waveforms allow editing based upon the level,
the volume of a clip. Spectrums allow the display and editing
| | 00:20 | of a clip based upon the frequencies it contains.
| | 00:24 | So what we're going to do in this chapter is we're
going to explore the Frequency Spectrum view.
| | 00:29 | I'll show you how to change the display scales, how to adjust the display
settings and how to select and remove a specific range of frequencies.
| | 00:38 | This is brand-new,
| | 00:40 | and it is to really exciting.
| | 00:42 | Let's start by taking a look at the view itself.
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| Frequency Spectrum view| 00:00 | The ability to look at the frequencies contained
inside a clip is brand-new and very exciting,
| | 00:06 | and there's two places that we can look at it. One is by highlighting
the clip- by the way, I've opened a project called 02 Frequency,
| | 00:14 | which is inside the Assets projects folder so
you can work on this yourself- is to select the clip
| | 00:19 | and then show the Lower Pane,
either by clicking this button or
| | 00:23 | typing Control + S, which makes it appear and disappear and
we've got the frequency control over here by clicking that button.
| | 00:31 | This works perfectly fine, but I instead am going to
double-click this clip to load it up into the audio file project,
| | 00:38 | hide the Lower Pane, and the only reason for doing it is it makes my
screen bigger and makes it easier for me to show you what we're doing.
| | 00:46 | To switch between the waveform display and the frequency
display are these two buttons. The one on the left is waveform,
| | 00:53 | Display by Volume, the one on the right is Frequency.
| | 00:56 | Lower frequencies, base notes are at the bottom.
Higher frequencies, treble notes, are at the top.
| | 01:03 | Well, that's pretty cool.
| | 01:04 | But the difficulty is it's displaying all of my audio in
a linear fashion, and that's displaying it all the way from
| | 01:12 | zero cycles at the bottom, to 24,000 cycles at the top.
| | 01:16 | This is well outside the range of human hearing.
| | 01:19 | And most of the energy that we use for human speech is in
this low category down here from roughly a hundred cycles
| | 01:27 | to about 7000 cycles.
| | 01:30 | Wouldn't it be nice to change the way we look at this?
| | 01:32 | Actually, just have to cControl-click in here
and change this from Linear, to Logarithmic.
| | 01:38 | And now we're seeing the distribution of
frequencies much more the way the ear hears it,
| | 01:44 | as supposed to the way the mathematician describes it. Notice
we've got a hundred cycles here. This is roughly where male human
| | 01:51 | speech starts and female speech starts around 300 cycles- and don't
yell at me. It's going to be close to this. Everybody is different.
| | 01:59 | And human speech is going to end right around the 5K number.
| | 02:04 | Here's an interesting statistic.
| | 02:06 | Whenever the frequency doubles, we have an octave change in pitch.
| | 02:12 | Human hearing is actually 10 octaves, 20 to 40 cycles is an octave.
40 to 80, 80 to 160, 160 to 320, 320 to 640,
| | 02:22 | 640 to 2150, rounding a little bit, 1250 to 2500
| | 02:27 | to 5000, to 10000, to 20000. It's interesting to me that
down here at the bottom, 20 to 40 cycles, is as much a change
| | 02:35 | in pitch has 10000 to 20000 cycles is.
| | 02:40 | And notice that we're starting to see commonality
in frequency. See these lines across here.
| | 02:46 | This is a tone that exists at that specific frequency.
| | 02:49 | This is actually a three dimensional graph. The horizontal
represents time, the beginning of the speech to the end of the speech.
| | 02:57 | The vertical represents the frequency, bass notes to treble notes.
| | 03:01 | And the color represents the intensity of that frequency, where
blue is almost nothing at that frequency, light blue is very little,
| | 03:09 | green is a moderate amount, yellow's a fair amount
| | 03:13 | and red is as much as you can have.
| | 03:15 | So by looking at the colors we can see the intensity
where the frequencies are predominantly located.
| | 03:21 | But being able to change the display is only part of the
benefit we have with this frequency view. Here's another secret.
| | 03:27 | If you Control-click in the frequency
itself and say Show Spectrum Controls,
| | 03:33 | it opens up a window that allows us to change the frequencies.
For instance, here I don't want to see a minimum frequency of zero.
| | 03:40 | I can never hear it. I'll change my minimum frequency to 20.
| | 03:44 | And I don't want a maximum frequency of 24,000. Even though
that's what a 48K sample rate supports, 24,000 is outside
| | 03:51 | the range of human hearing. Let's set
it to human hearing, which is 20,000.
| | 03:58 | Now we've expanded the range so it properly reflects human hearing.
| | 04:03 | In fact, I don't really want to hear sounds which are so soft
that most people won't even notice them. So I don't want the
| | 04:10 | minimum power to be -96, which is really currently quiet.
| | 04:15 | Let's get it to be something which is more usable.
I want the minimum sound to be at least 60 dB or louder.
| | 04:22 | Now 60 dB is really quiet.
| | 04:26 | But now we're starting to see- look at our spectrum. Look at
how much of the garbage just disappeared and look at how it's
| | 04:32 | starting to concentrate and show us just
the most intense, the loudest frequencies.
| | 04:38 | And we can switch between linear and logarithmic here.
| | 04:42 | Logarithmic is absolutely much easier to work with
because again, it reflects the way that the ear hears,
| | 04:47 | but it's two different ways of displaying the same data
| | 04:50 | and just because I can, I'm going to open this up. Oops. Too much.
| | 04:54 | -96. There we go.
| | 04:57 | I personally like this rainbow display, but maybe you're
not a rainbow kind of person. Maybe your green and white person,
| | 05:03 | where green is the lack and white is the maximum amount
of that particular frequency. Or maybe electric blue.
| | 05:10 | You can change around. By the way, if you wanted to paint your
own color and have this be much redder, you Control-click on that.
| | 05:17 | Control-clicking, just like it does inside Motion,
opens up the Color Picker. Pick the color that you want,
| | 05:23 | and now notice that we've got a shading much more toward red as it
hits the hot frequencies. You can Control-click on any of these and
| | 05:30 | change the color so it's whatever you want to be.
| | 05:34 | This allows you to equally space then or drag the node where
ever you want. In other words, you've got complete design control
| | 05:41 | to make this thing look exactly the way you want. And when
you realize you have screwed up beyond all hope of redemption,
| | 05:47 | you click on the Reset button and
it takes you back to where we started.
| | 05:51 | Which is kind of cool. However for me, I'm going to set
this so that I hear the range of human hearing, which is 20
| | 05:58 | to 20,000. And I just want to hear the louder tones, so that
which is 60 dB or louder, and I want see it displayed
| | 06:07 | logarithmically. For me to do the kind of
editing that I do, that works the best.
| | 06:12 | Now the spectrum view, when you're done with it, click
the X up here in the top left corner and it puts it away.
| | 06:18 | For now, I actually have two pieces of audio here. One is this person
talking, this stereo clip, and the others a telephone. Double-click this.
| | 06:27 | Switch to Frequency view
| | 06:29 | and Control-click to logarithmic. Now this is a telephone.
| | 06:33 | [Sounds of numbers being dialed.]
| | 06:36 | It really gives you an idea of
| | 06:38 | where those telephone tones are located because you can see how
they stack of vertically and whether they're close or far apart,
| | 06:44 | which is how the telephone knows what number you're dialing.
| | 06:48 | But what happens if we wanted to get rid of some of those frequencies?
| | 06:51 | Well I'll show you how to do that next.
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| Frequency spectrum editing| 00:00 | Now here's the cool thing about this F requency view.
Not only can we view the frequencies and change how we view
| | 00:06 | and change the look of the display, we can actually edit them.
| | 00:09 | Specifically, we can remove them. And the way that works is
this. We go up to the toolbar and we select the second tool.
| | 00:17 | And then we click, hold and drag around
the frequencies do we want to get rid of
| | 00:23 | and hit the Delete key.
| | 00:25 | Let's do that again for those of you whose jaws are on the floor.
| | 00:28 | We select the frequencies we want
to get rid of, and hit the Delete key.
| | 00:33 | Now listen and and see if you can hear a difference.
| | 00:36 | [Audio: Sounds of phone number being dialed.]
| | 00:39 | Now I can hear a difference.
| | 00:42 | I suspect you can hear a difference too.
Those frequencies are gone.
| | 00:48 | [Audio: Sounds of phone number being dialed.]
| | 00:49 | So here for instance, we've got a little of that low-frequency
climbing in. We'll just get rid of that. Now it will just disappear.
| | 00:55 | [Audio: Sounds of phone number being dialed.]
| | 00:59 | Well what is the advantage of this? Let's take a look over here.
| | 01:04 | And let's change our setting . If we Control-click
on Spectrum Controls to turn this up just a bit.
| | 01:10 | So we can see what's going on. And notice that I now have
this tone right in here, we've got this constant frequency.
| | 01:19 | So I select my Frequency slider,
| | 01:21 | and drag across, I could make a specific high-pitched tone disappear.
| | 01:27 | I haven't really affected anything with speech
as I'm pretty much above the speech frequencies.
| | 01:31 | It allows me to do editing based upon frequency. Maybe I've got
a phone ringing quietly in the background that I want to get rid of.
| | 01:38 | I could just lock in on that particular the beeping
frequency and highlight it and make it disappear.
| | 01:45 | We've never had that capability before. This is a very cool stuff.
| | 01:50 | And you get there by either loading the clip inside the File Editor, which is in the Lower Pane,
| | 01:56 | select the File Editor and select the clip,
| | 01:58 | and click the Spectrum,
| | 02:01 | or double-click to open up in an
Audio File Project and click the Spectrum view.
| | 02:07 | And then you had that spectrum based upon the Spectrum Edit tool.
| | 02:11 | Just click, hold and drag and make the frequencies disappear that
you need to disappear. Now keep in mind that frequencies, like
| | 02:19 | grayscale, is kind of loose. Frequencies sort of bleed in
all directions. There is very, very pure tones in nature.
| | 02:25 | There's lots of bass frequencies and harmonics,
reflections up in the higher frequencies.
| | 02:31 | So you're going to be able to reduce a tone if you're editing.
This is the sort of feature that you need to play with and
| | 02:38 | listen to to see how to use it the best, and taking advantage
of the fact that if you don't like it, go to the Actions tab,
| | 02:44 | hit the Delete key and you can bring it back, even
many steps after you've deleted it, is always a good thing.
| | 02:51 | But this ability to view and edit frequencies is just amazing.
| | 02:56 | And I had to take a minute and show you how it worked.
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|
12. Learning the Multitrack InterfaceMultitrack interface overview| 00:00 | So far we've spent most of our time inside the audio file
project, but there's a whole different interface with Soundtrack
| | 00:06 | and that's the multitrack project, and that's
where we're going to turn our attentions now.
| | 00:10 | First we'll start by learning the interface - how to add clips
to the Timeline, look a little bit more deeply into the browser,
| | 00:17 | discover a window we haven't looked at at all, which is the
bin, look at how to select clips both using the Selection tool
| | 00:23 | and the Time Slice tool and keyboard shortcuts, how drag
and adjust clips once they've been set on the Timeline,
| | 00:30 | how to view Timecode using the heads up
display, which is what HUB stands for,
| | 00:34 | and spotting effects using the multipoint
viewer, which is just amazing.
| | 00:40 | All kinds of new goodies here so lets
start by adding clips to the Timeline.
| | Collapse this transcript |
| Adding clips| 00:00 | Here's a brand new multitrack project and we're
seeing all of our panes here in front of us.
| | 00:06 | Well, let's take a little bit of a tour around here.
| | 00:09 | We'll hide the left pane and we'll hide the bottom pane and we'll
hide the right pane, because those essentially remain the same.
| | 00:16 | Notice that what we've got here is our
toolbar across the top and we'll explain all
| | 00:21 | of these settings as we go through the process of editing.
| | 00:24 | We have a single track for video.
| | 00:26 | Unlike Final Cut, which gives us up to 99 video
tracks, Soundtrack only gives us 1 and we have tracks.
| | 00:34 | I checked with Apple a couple days ago and they
said that Soundtrack supports up to 255 tracks
| | 00:40 | of audio, which is far in excess of Final Cut's 99.
| | 00:45 | On the other hand I'm having a hard time thinking of when I used
more than 100 tracks of audio in any project that I've created,
| | 00:52 | so effectively for me I've got an unlimited
number of tracks inside Soundtrack Pro.
| | 00:57 | We also have what are called buses
and submixes in the master out.
| | 01:01 | These are at the bottom of the file and
for right now I'm going to ignore that.
| | 01:05 | We'll be working with buses and submixes in the master out
when we talk about mixing a little later in this training.
| | 01:11 | For right now our tracks are contained here.
| | 01:16 | We can also determine what we're seeing inside
the Timeline from the show menu in the top right.
| | 01:21 | If we're just editing audio and we don't have any video,
then turn off the video track and you pick up some space
| | 01:27 | or you don't want to see the buses because you're
not using them or you don't need to see submixes.
| | 01:31 | Again, the whole goal here is to get as much vertical space as
you can so you can see as many tracks at one time as you need.
| | 01:38 | The show menu allows you to do that.
| | 01:41 | In our particular case we'll keep the buses off but
we will have a video track so we'll keep that on.
| | 01:47 | This is the tool palette.
| | 01:48 | We'll be talking about all these tools in the next
series of movies on editing inside the multitrack.
| | 01:56 | As you would guess, just as a Timeline inside
Final Cut, our clips play from left to right.
| | 02:00 | The beginning is on the left.
| | 02:01 | The end is on the right and the track header controls things
like volume and pan and where it's going to be output.
| | 02:09 | This is the Solo command which allows us to mute all
the other tracks and just hear the one that's soloed;
| | 02:15 | the Mute command which makes this particular track inaudible.
| | 02:18 | As we discovered in the section on recording
this is how you arm a track for recording.
| | 02:23 | This is how you bypass an effect.
| | 02:25 | Here's a VU meter so you can see how loud the track is, and if
we twirl down here we're working with envelopes and keyframes,
| | 02:33 | which we'll be talking about a little bit later.
| | 02:36 | If we wanted to change the color of a
track you Ctrl+Click inside the header.
| | 02:41 | This allows you to add a track before this
track, add a track after it, remove the track.
| | 02:46 | Adding a Send we'll talk about with mixing, lock
the track to make sure you don't make any changes.
| | 02:52 | You can change the track color and the rest of this stuff
is a moue shortcut for Ctrl+Clicking or right-clicking
| | 02:59 | to do all the rest of the stuff we've talked about.
| | 03:02 | Let's go back, hit the F1 key, get our 6 panels back
again, and let's add a piece of audio to this system.
| | 03:09 | So we're going to go to our second drive, go
to Soundtrack Pro 2 assets, and go to media,
| | 03:15 | and let's work with a clip we haven't looked at before.
| | 03:18 | If I grab this clip and drag it, notice
that the audio appears but there's no video.
| | 03:26 | The neat thing about the browser is that unlike
Final Cut I don't have to import my audio first.
| | 03:32 | This is looking actually right down onto my computer and
on an instant-by-instant basis it sees all the drives
| | 03:39 | that are attached, all the folders
and the files that I've created.
| | 03:42 | It's like I'm looking through the application
directly down to the operating system.
| | 03:46 | This takes me as a shortcut to the home
directory of my boot drive and this takes me back
| | 03:53 | to the highest level so I can see all of my connected devices.
| | 03:56 | It takes me, as it says, to the computer. So
what I'm doing is I'm navigating into the Finder
| | 04:03 | to take a look at where my projects and my media is stored.
| | 04:08 | As we saw when we were working with audio file projects,
| | 04:10 | if I simply double-click the file although it does display
the video it opens me up into an entirely different project
| | 04:17 | where I just have the video as an audio file project,
so I don't want to have it as an audio file project.
| | 04:23 | I want to have it here with the video
inside the multitrack project,
| | 04:28 | and that means that I have to drag
it but I drag it to the video tab.
| | 04:32 | When I drag it to the video track up here then the video and the
audio are perfectly linked together and I can see them playing
| | 04:41 | at the same time, so don't double-click a file.
| | 04:45 | That's going to load it to an audio file project, and don't just
drag the file to an audio track because that ignores the video.
| | 04:51 | If you know there's video with a
file drag it up into the video track.
| | 04:56 | Now we've got our audio and our video all in the same spot.
| | 05:00 | Well, the browser allows us to see down into the Finder to see
down into how our files are actually stored on the computer.
| | 05:09 | This lower pane has a tab called the Bin.
| | 05:12 | The Bin is a listing of everything that I'm using in my project.
| | 05:16 | This is probably the closest to what we
have as the browser inside Final Cut.
| | 05:21 | This is the operating system.
| | 05:23 | This is like a shorthand path to the Finder.
| | 05:26 | The Bin allows us to see clips that
we're loading up into our project.
| | 05:31 | For instance here, if I click on this wine
intro or click here on the audio for it,
| | 05:37 | if I wanted to preview it I could
click here and it would preview.
| | 05:41 | Now one of the things I've found is it sometimes takes
a couple seconds to build the preview and we can listen
| | 05:46 | to it and decide if that's the clip that we want.
| | 05:49 | For instance here, let's go to search and let's pull up a piece
of jazz here and let's find a nice - I'll put this acoustic music
| | 05:58 | in here and this time I'm just click-hold and dragging it
and we'll grab the volume slider and pull it down just a bit.
| | 06:12 | So what we've done is I've just taken a
second clip and dropped it to a second track.
| | 06:18 | Notice what's happened inside the Bin.
| | 06:20 | The Bin has listed that clip right here and if I select it
and hit the play button I can preview my clips in the Bin,
| | 06:30 | so what the Bin gives us the ability to do is to keep
track of all the clips that we have in our Timeline,
| | 06:35 | tell us exactly where they're located, allow us to preview
them, and keep a listing of all the technical information
| | 06:41 | to help us understand what our clips are all about,
so we can add clips directly from the browser.
| | 06:46 | This looks to the Finder, or we can add clips to the Timeline.
| | 06:50 | We can access them from the Bin.
| | 06:52 | All of these different ways are used to make sure that we get
the clip that we need from different parts of our computer
| | 06:58 | into what we're creating inside Soundtrack, but once we've
got the clips in the Timeline we still have to follow the No.
| | 07:06 | 1 interface rule for Soundtrack Pro and that is
to select something and then do something to it.
| | 07:13 | We'll talk about selecting clips next.
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| Selecting clips| 00:00 | The No. 1 interface rule in Soundtrack Pro is to select something
and do something to it, and just as we have to select a portion
| | 00:07 | of an audio file project in order for us to tell Soundtrack
what we want to process so we have to select clips.
| | 00:13 | Now there's different things that we can select.
| | 00:15 | For instance we could select a track.
| | 00:17 | Notice how this track is white.
| | 00:19 | That tells us what our selected track is and you can change
the selection of a track by simply clicking on this colored bar
| | 00:25 | over here, because if you click on the
word it's going to open up the name
| | 00:29 | and you're going to have to change the name on the track.
| | 00:31 | You're going to get really confused.
| | 00:32 | It's going to be bad.
| | 00:33 | So what we're going to do instead is just click on the
colored bars to select a track, or we could select a clip.
| | 00:39 | Now, the clip selection is simply
clicking on it with the Selection tool -
| | 00:43 | that's this arrow key up here - and
whatever clip you click on is selected.
| | 00:49 | Now here's a cool secret.
| | 00:51 | If I zoom in on the Timeline and I want to have the entire
Timeline fit inside the window, I just have to type Shift+Z.
| | 00:59 | Shift+Z makes it easy to take the entire
Timeline and fit it in the window.
| | 01:03 | This works exactly the same as Final Cut, but what happens
if I wanted to have just this one clip fit in the window?
| | 01:11 | Well, in Final Cut it's an entirely different keyboard shortcut.
| | 01:14 | Inside Soundtrack it's Option+Z.
| | 01:18 | Option+Z fits an entire clip - whatever clip is selected
- into the window and Shift+Z fits the entire Timeline.
| | 01:26 | Well, I can tell that you're completely overwhelmed and the
key here is that we can not only scale stuff horizontally.
| | 01:33 | We can also scale it vertically.
| | 01:35 | That's what this bar chart is down here.
| | 01:37 | When I select this it automatically expands my tracks and
you can control your horizontal scaling by the zoom slider,
| | 01:45 | which allows us to zoom in or out on the Timeline as necessary,
| | 01:50 | and reset everything with Shift+Z, or if
we want to see a single clip Option+Z.
| | 01:55 | Let's reset this back a bit so we can
see a little bit better what's goin' on,
| | 02:00 | so we've selected a clip by using the Selection tool.
| | 02:03 | What happens if - notice here with the Selection
tool - make a point - the letter A accesses that.
| | 02:09 | Notice that it selects the entire clip but
I don't want to select the entire clip.
| | 02:16 | I want to select just a small part of the clip and the
Selection tool doesn't let me select a small part of the clip.
| | 02:24 | No, you don't have to go to Pro tools.
| | 02:25 | You just have to go to a different tool.
| | 02:27 | It's the second one and it's called the Time Slice tool.
| | 02:30 | With the Time Slice tool - keyboard shortcut the letter
W - click-hold and drag and you select a piece of a clip.
| | 02:38 | Now this is very cool.
| | 02:39 | As you'll see when we do our editing, it means that we don't
have to move our files over to an audio file project if we want
| | 02:45 | to start to select just pieces of a clip because
the Time Slice tool makes it a lot easier.
| | 02:49 | For right now, we're just going to use the Time
Slice tool to allow us to select a portion of a clip.
| | 02:56 | Now, here's a keyboard shortcut that
can make your life a lot easier.
| | 02:59 | Let's say I use the Time Slice tool to select
a piece of this clip on the natsaw1 track
| | 03:07 | and I want to have the exact same piece
selected on the natsaw2 track because I want
| | 03:12 | to do something to both of them like delete them both.
| | 03:15 | Just hold the Shift key down and click
with the Time Slice tool below it.
| | 03:20 | The Shift key will allow me to select
both sections at the same time.
| | 03:24 | If I click up here by holding the Shift key
down, now I've extended that Time Slice -
| | 03:29 | which is a fancy word that means "a portion of a clip".
| | 03:32 | I've extended that Time Slice to as
many tracks as I want to Shift+Click on.
| | 03:36 | Or if you want to extend the length of the
end of it, just hold the Shift key down
| | 03:40 | and it gives you the chance to extend your selection.
| | 03:44 | If you realize that you've got everything all confused,
| | 03:47 | just click anywhere outside the Time
Slice to deselect it and it disappears.
| | 03:52 | A Time Slice allows you to select a portion of a clip so
we can use the Selection tool to select an entire clip.
| | 04:00 | We can use the Time Slice tool to select a portion of a clip, but
what happens if I want to select multiple clips at the same time?
| | 04:08 | It's like the track commands inside Final Cut and
we've got them except that they're keyboard shortcuts.
| | 04:14 | Let me position my playhead at the beginning of a clip.
| | 04:17 | Notice that Track 1 is selected and when I hold the
Shift key down and press Shift+End - the End key -
| | 04:26 | notice that it selects every clip from the
position of my playhead to the end of my Timeline.
| | 04:32 | To deselect click outside the selected region or press
Shift+Home and select every clip from the beginning
| | 04:39 | of the Timeline to the position of the playhead - very cool.
| | 04:42 | In fact, it gets cooler.
| | 04:46 | Watch this.
| | 04:47 | If I type the Shift key and hold down Shift and Option and
press End, notice that it selects every clip from the position
| | 04:55 | of the playhead to the end of the Timeline, but notice that
it selects the entire clip even though the clip starts ahead
| | 05:02 | of the playhead so that if I were to hit
the Delete key entire clips disappear.
| | 05:06 | I'll undo that with Command+Z.
| | 05:09 | To deselect 'em click anywhere except on a selected clip and then
do Shift+Option+Home and it selects every clip from the beginning
| | 05:17 | of the Timeline to the position of the playhead on every track.
| | 05:22 | Well, that works really well but what happens
if my playhead is in the middle of the clip?
| | 05:27 | Well, here's the trick.
| | 05:28 | If you select the Time Slice tool with the Time Slice
tool selected and then you type Shift+Option+End,
| | 05:36 | notice that it highlights just a portion of the clip
that's at the position of the playhead or later.
| | 05:41 | When I hit the Delete key, it slices the clip right at the
position of the playhead and deletes it or if I click - again,
| | 05:48 | I have to have the Time Slice tool selected; the keyboard
shortcut's the letter W. Shift+Option+Home selects every clip
| | 05:55 | on every track from the start of the Timeline to
the position of the playhead and when I delete it,
| | 06:00 | it slices the clip at the position of the
playhead and makes all the clips disappear.
| | 06:05 | So if the Selection tool is active it selects entire clips.
| | 06:10 | If the Time Slice tool is active it selects from the position
of the playhead and will slice a clip if we've got the playhead
| | 06:17 | in the middle of a clip, so we can
select clips with the Selection tool.
| | 06:22 | We can select portions of a clip with the Time Slice tool.
| | 06:26 | We can select an entire track by doing Shift+Home
or Shift+End and we can select all tracks
| | 06:33 | by doing Option+Shift+Home and Option+Shift+End.
| | 06:38 | Selection is so critical to being able to move stuff around that
it's important to be comfortable doing it not only with the mouse
| | 06:44 | but with some of the keyboard shortcuts as well.
| | 06:47 | Well surely with all of these different settings there can't
possibly be anything more we can do with a clip, but there is.
| | 06:56 | It's called dragging and adjusting and I'll talk about that next.
| | Collapse this transcript |
| Adjusting clips| 00:00 | We've got out clips added to the Timeline
and we've got them selected or not selected
| | 00:05 | as necessary, but how do we adjust the clips?
| | 00:07 | Well, a clip is actually just like Final Cut.
| | 00:11 | If you want to make it longer or shorter, you can just grab the
end of the clip and drag it to make it whatever length you want.
| | 00:17 | The way that that works is we get right to the edge, and
once you're on the edge you click, hold, and drag the edge
| | 00:23 | and you can make your clip longer or shorter.
| | 00:25 | We can also reposition a clip by grabbing, and
notice when we do 3 very pale blue lines show up.
| | 00:33 | Those are the alignment lines.
| | 00:35 | One is on the end - that's the left hand one;
one is on the out - that's the right hand line;
| | 00:40 | and one is in the dead center of
the clip - that's the center line.
| | 00:43 | We also have the exact same concept with the cursor.
| | 00:47 | Notice that when the cursor is up in the
Timeline bar we get this thin blue line
| | 00:52 | that shows us exactly where our Selection tool is located.
| | 00:55 | This could be used for alignment purposes and it
only shows up when our cursor is up in the Time bar.
| | 01:00 | Once we pull our cursor down from the
Time bar that blue line disappears.
| | 01:06 | Moving a clip between tracks is as easy
as simply grabbing and dragging it,
| | 01:09 | but notice that there's nothing to
constrain the movement of the clip.
| | 01:13 | Well, if we hold the Shift key down, holding the Shift key down
means that we can only move the clip in one direction vertically
| | 01:22 | so that it doesn't have any change in position,
which means that if I'm moving a clip up
| | 01:26 | or down I'm not going to lose sync with the video.
| | 01:29 | And those of you who are not colorblind have
noticed that our clips have different colors.
| | 01:33 | We can adjust those as well.
| | 01:36 | We can actually do it one of two ways.
| | 01:38 | We can Ctrl+Click in the track header and we can change
the color of every clip in the track by Ctrl+Clicking
| | 01:44 | and saying track color and all the clips then
become whatever color we select fro the track.
| | 01:49 | Or what we can do is - we'll just pick something here.
| | 01:54 | Let's go back to green.
| | 01:55 | I can Ctrl+Click on an individual clip and set the clip color
so that for instance maybe I've got a grape colored clip
| | 02:03 | which I want to do some special effect to and I want to
flag that I've got a special effect on that particular clip.
| | 02:09 | I can change clip colors based upon
tracks or based upon the clips themselves.
| | 02:17 | Additionally we can move the playhead, but how the
playhead moves is dependent upon this popup menu down here.
| | 02:24 | Do we want to move it based upon ruler ticks, which are
these lines here that indicate the measures of the music,
| | 02:30 | do we want to move it based upon seconds,
or do we want to move it based upon frames?
| | 02:35 | Well, as a long-time video editor, I'm very used to moving
stuff in frames but the default setting is ruler ticks,
| | 02:41 | and when snapping is turned on it's going
to snap to each of these gray lines.
| | 02:47 | Drives me nuts so I'm going to set this
down to frames, and now when I use the left
| | 02:52 | and the right arrow keys it still moves based upon
those gray lines but when I hold the Option key
| | 02:58 | down the Option key now moves the playhead one frame at a time.
| | 03:05 | Option+Left Arrow moves it left one frame at a time;
Option+Right Arrow moves it right one frame at a time.
| | 03:12 | If you use the Up and the Down Arrow keys just as it does inside
Final Cut, this moves to the beginning and the end of a clip
| | 03:19 | so you can jump to the beginning or the end
of the clip using the Up and Down Arrow keys.
| | 03:24 | If I select a clip and hold Option and Command down,
| | 03:29 | Option+Command+Left/Right Arrow will nudge the
clip based upon what this setting is down here,
| | 03:36 | so right now I'm doing Option+Command+Right Arrow and moving
the clip one frame at a time or Option+Command+Left Arrow
| | 03:44 | and moving the clip left one frame at a time.
| | 03:47 | So we can adjust the length of a clip by grabbing the
end of a clip, either the beginning or the tail end,
| | 03:52 | and dragging it left or right to make it longer or shorter.
| | 03:55 | This works exactly the same as Final
Cut and as long as you've got handles
| | 03:58 | in the clip you'll be able to make it whatever length you want.
| | 04:01 | Clearly when you run out of handles you're stuck.
| | 04:04 | We can move the clip by grabbing it with the mouse
and dragging it or if we want to move it vertically
| | 04:09 | and make sure we don't lose sync, hold the Shift key down - it'll
constrain it vertically - and we can move the playhead a frame
| | 04:16 | at a time by making sure that we have this set
to frames and using the Option+Left/Right Arrows.
| | 04:22 | Or if we want to move a clip, select the clip and do
Option+Command+Left/Right Arrows, so we can adjust
| | 04:28 | and align our clips as much as we need to inside all
these different tracks with no risk of losing sync
| | 04:34 | as long as you understand how the whole thing works.
| | 04:37 | But now I get to show you something very cool.
| | 04:40 | I want to show you how to view Timecode inside the Timeline
and how to spot a sound effect to a very particular effect.
| | 04:50 | That is next.
| | Collapse this transcript |
| Working with the TC display and multipoint video| 00:00 | One of the features that Soundtrack has had
for a while is called a heads up display.
| | 00:04 | It used to be called a dashboard but they needed fewer
letters so they now call it a HUD for heads up display.
| | 00:10 | We've seen them a little bit but we're going to
start to work with them more and more as we start
| | 00:13 | to do our editing inside the multitrack project.
| | 00:16 | Just to show you something that's going to gladden your heart,
| | 00:19 | we'll start with go to Window, go
down to HUDs and go to Timecode.
| | 00:24 | Look at that.
| | 00:25 | Look at that.
| | 00:26 | That is a large Timecode display inside Soundtrack Pro.
| | 00:31 | This is just amazing but it gets better.
| | 00:33 | Watch this.
| | 00:34 | If I grab the lower right corner, I can scale this
to be the size that you would need to fill a monitor.
| | 00:41 | Could you imagine how many people would
kill to have this inside of Final Cut?
| | 00:45 | Holy Christmas, and look at this.
| | 00:47 | Let's just make this a little bit smaller so
we can see what the heck it is we're doing.
| | 00:52 | If I wanted to jump the playhead to a specific
spot, just double-click on the Timecode
| | 00:56 | and say, "I want to jump this to 5 seconds in."
| | 01:00 | Boom; it jumps 5:54.
| | 01:03 | Double-click to say whatever time you want
to set this to and jump to say 3 seconds.
| | 01:07 | Boom; I've jumped to 3 seconds in.
| | 01:10 | I can scale this to whatever size I want.
| | 01:13 | I can jump the playhead.
| | 01:14 | If I move the playhead it automatically gives me an
instantaneous readout of where my playhead is moving to.
| | 01:20 | I want to just tuck this up and put it in a corner just
because it makes me feel warm and fuzzy to see this.
| | 01:25 | This is just really cool.
| | 01:29 | If we watch this video - we'll close the Timecode
window, Ctrl+A - and let's watch this for a second.
| | 01:35 | Here's our star and she says: (Audio playing: "Now, it may look
like I'm at a vineyard but I'm actually at a home in Westlake,
| | 01:42 | CA.") Now, for those of you who don't know, Westlake, CA, is a
very upscale suburb to Los Angeles on the north and west side
| | 01:50 | of the city and it is inconceivable to me that these
people would not have vineyards growing in their backyard,
| | 01:57 | but I think we want to move this a
little more out into the country.
| | 02:01 | For instance, I think we need to add a
sense of ambience to what's going on.
| | 02:05 | What we need is we need a cow so we're going to go down
to the search window and make this a little big bigger
| | 02:12 | so we can see this preview button down here, highlight
the cow sound that we want, click the preview.
| | 02:18 | (Cow mooing) Now, that sounds like just
exactly the effect we want to make it seem
| | 02:24 | like Westlake is out in the middle of rural America.
| | 02:30 | Now, the reason I drag the search
window out is when I dock it back again,
| | 02:35 | notice that the window is so small I've lost the preview ability.
| | 02:38 | I have to make the window big enough so I can hear this
preview button because if I hit the Space Bar I'm going
| | 02:44 | to be playing the Timeline, which I don't want to do.
| | 02:46 | I just want to be able to hear the sound effect.
| | 02:49 | (Cow mooing) Now, it's not in the barn.
| | 02:52 | It's outside.
| | 02:54 | (Cow mooing) Good.
| | 02:55 | Now, once we've got that sound effect selected - we
could've used crickets, but just how boring is crickets?
| | 03:02 | How many cows do you have in suburban America?
| | 03:05 | Not as many as we should.
| | 03:07 | That's I think my basic philosophy so I'm going
to grab the cow and drag it up to a track.
| | 03:11 | When I do, notice that it assigns -
(Laughter) that's clearly a cow picture.
| | 03:16 | I get a kick outta that every time I
see it, but look at the sound effect.
| | 03:20 | The sound starts slow.
| | 03:22 | "Mmmmmmmooo."
| | 03:24 | And then it starts into the big moo here and then it sorta
rattles off into the end, so I don't want my sound effect
| | 03:29 | to start where this gap is and I
don't want it to end where the gap is.
| | 03:33 | I need to sorta center the sound
effect into the middle of the gap.
| | 03:40 | It works. See this marker here?
| | 03:42 | This is where I want my sound effect to go so I'm going to grab
with the Selection tool - remember that's the letter A. I'm going
| | 03:48 | to grab the sound effect where I want the effect
to start, and notice that there's 3 blue lines.
| | 03:54 | The left hand blue line refers to the in of the sound
effect; the right hand blue line - those vertical lines -
| | 03:59 | refers to the end of the sound effect; and
that center blue line refers to the point
| | 04:04 | where my selection cursor is touching the clip and I type the
letter V as in Victor and it opens up the multipoint display.
| | 04:14 | The left hand picture corresponds to the beginning of my
sound effect, the right hand picture corresponds to the end
| | 04:20 | of my sound effect, and the center picture corresponds
to the point where my cursor is touching the clip.
| | 04:28 | Because I don't want the sound effect to start at the gap or
end at the gap, I want it to be in full moo during the gap,
| | 04:36 | I can use this multipoint display to make
sure that I am properly centering this.
| | 04:41 | Apple has done such boring things as to add a
car slam using the multipoint video display.
| | 04:48 | Anybody could add a car slam, but a cow - how
many people could add a cow to a vineyard?
| | 04:55 | Now that's - that takes talent and here is what it sounds like.
| | 04:59 | Let's just pull the level down so the cow
doesn't sound like it's trying to sit on her lap.
| | 05:03 | (Audio playing: "Now it may look like I'm at a vineyard."
| | 05:05 | (Cow mooing) "But I'm actually at
home in Westlake.") Instant farmland.
| | 05:09 | I tell you more vineyards need access to cows.
| | 05:13 | I think that's my point of this entire exercise,
so we can see Timecode by going to Window/HUD
| | 05:19 | and it will chase wherever our playhead goes - very cool.
| | 05:24 | We can add sound effects clearly just by dragging.
| | 05:27 | We've learned how to do that, but what the multipoint video
display allows us to do - remember it's the letter V -
| | 05:33 | is wherever we click the clip the left hand picture
shows us the beginning of the clip that we're dragging.
| | 05:39 | The right hand picture shows us the
end of the clip that we're dragging
| | 05:43 | and the center picture shows us the point our mouse is touching
the clip so we can use it to precisely control the spotting
| | 05:51 | of sound effects anywhere in our Timeline - very, very
cool - and it's accessed by the letter V as in Victor.
| | 06:01 | We've covered enough of the interface that we can
now start to move into actually editing audio,
| | 06:07 | and that is what the whole next chapter is about.
| | Collapse this transcript |
|
|
13. Editing Multitrack AudioMultitrack editing overview| 00:00 | Well, now that we've had a chance to look at the multitrack
interface, let's put it to work with some editing.
| | 00:05 | In this chapter I'll show you how to edit using
the editing HUD - that's the heads up display -
| | 00:09 | and I'll introduce the editing tools available to us.
| | 00:12 | I'll show you how to do deleting and ripple deleting,
how to split and join a clip, how to edit a dialogue
| | 00:18 | and make 3-point edits, and we'll wrap up by adding
transitions both at the end of a clip and between clips.
| | 00:25 | Well, before we jump into the interface I want to introduce
the editing tools which are available to us in a toolbar
| | 00:30 | in the top left corner of the Timeline window.
| | 00:33 | There's the Selection tool and you access it using
the letter A. That's on the extreme left side.
| | 00:38 | It's the arrow tool and that should be the one that
we're always in unless we need a specific function.
| | 00:43 | The Time Slice tool is second and that's the letter W.
Blade to slice a single clip or the multitrack Blade
| | 00:49 | to slice multiple clips, this works exactly the
same way the Blade tool works inside Final Cut.
| | 00:55 | The Lift and Stamp tools are new with this version of
Soundtrack but I'm not going to talk about them in editing.
| | 01:00 | I'll talk about them in the mixing section
because they have tremendous utility for us there.
| | 01:04 | The Scrub tool - the letter H - allows us to audition.
| | 01:08 | We can access the editing HUD by using the Backslash key
and the multipoint video, which we saw in the last chapter,
| | 01:15 | is accessed via the letter V. These are the tools in the toolbar.
| | 01:20 | Well, it's nice to know what the tools are but it's
even nicer to put them to work and we'll do that next.
| | Collapse this transcript |
| Multitrack editing| 00:00 | Well, enough talk, time to get into action.
| | 00:02 | Let's start editing with our multitrack project.
| | 00:04 | So I've created a new project, and we're going to edit
an interview that I did recently with Bruce Nazarian.
| | 00:10 | Bruce is a wonderful guy to chat with, but we weren't in the
studio, he was on the phone, and so we've got some garbage
| | 00:16 | at the beginning, we've got garbage at the end, I've got a
little bit of hum on the phone line that we've got to get rid of.
| | 00:21 | I want to tighten it up and make it fit
a little bit more conveniently for time.
| | 00:24 | In other words, we got a lot of surgery to do.
| | 00:27 | Now if there was video associated with that, I
would do all of that editing inside Final Cut.
| | 00:31 | But I want to talk about editing audio inside Soundtrack,
and so we're going to create this two-track audio project,
| | 00:37 | which will illustrate a lot of the audio
editing techniques that we have available to us.
| | 00:41 | The assets are stored in our Soundtrack Pro assets folder,
but I'm tired of navigating to it through the browser.
| | 00:48 | I gotta keep clicking down and all this.
| | 00:50 | What I want to do is I want to find an
easy way to get to it time after time.
| | 00:53 | I'm going to make it a favorite, so I'm going to select
this folder, Control-click on it, and add it to Favorites.
| | 00:59 | Favorites show up inside the Favorite tab.
| | 01:02 | This makes it very easy for me to find
files that I access over and over again.
| | 01:06 | Rather than have to navigate to them each
time, just click on the Favorites tab.
| | 01:10 | So I double click on it, and inside is Media, and inside Media
is a folder called Nazarian, and inside that are two audio files,
| | 01:18 | me asking Bruce the questions, and Bruce answering the questions.
| | 01:22 | Now for right now, let's get rid of the left-hand pane to give
ourselves some room to work, and let's get rid of the lower pane,
| | 01:28 | so that's Control-A to get ride of the left,
and Control-S to get rid of the lower pane.
| | 01:33 | I'm going to grab my track and drag it up to here, and because
the playhead is at the beginning, we'll do an even cooler thing,
| | 01:39 | we'll Control-click on Bruce's clip and spot that to
the playhead, and boom - well, why did it go there?
| | 01:46 | And the reason is I didn't select a track.
| | 01:49 | So let's undo that, select our track, hit the
Home key, and then say, Spot this to playhead.
| | 01:55 | It always spots to the track that's selected, and if no
track is selected, it always goes to the first track.
| | 02:02 | Now, let's take a listen to what we've got here.
| | 02:03 | First Shift-Z to be able to see that it doesn't run too long,
| | 02:07 | runs a little bit longer than a minute,
but it's longer than it needs to run.
| | 02:10 | And if we listen to it - Larry On Tape: Okay, that one's done.
| | 02:13 | Now let's do - Bruce Nazarian: Okay.
| | 02:14 | Larry On Tape: Let's do something relatively short.
| | 02:16 | Keep the answers relative short simply because
I don't have to wait through a lot of text.
| | 02:20 | This is going to be just a straight business interview,
and we're going to talk about the DVD Association.
| | 02:25 | Bruce Nazarian: Okay, fair enough.
| | 02:26 | Larry On Tape: Here we go.
| | 02:28 | Bruce Nazarian is the presi - Larry: Okay, good.
| | 02:30 | Couple a things that are happening, 1, there's
an echo on my mike due to the latency coming back
| | 02:34 | from the phone line, so I've gotta cut my mike off Track 2.
| | 02:38 | No. 2, Bruce says, "Okay," just before I start talking.
| | 02:41 | I've gotta get rid of all that garbage at the beginning, and
there's equal garbage at the end, and I'm going to have to trim
| | 02:46 | up this track to get rid of my feedback, which is not feedback,
| | 02:50 | but the echo which is on Track 2,
and just hear my voice on Track 1.
| | 02:53 | In other words, we've got cleanup to do.
| | 02:56 | To make this easier to see, let's enhance the size
of our tracks vertically by clicking down here
| | 03:01 | on these track height adjustments, and we'll hit the Home key.
| | 03:05 | That moves the playhead back to the beginning,
and we'll zoom in by either using the Zoom slider,
| | 03:10 | or scrolling in and out with the scroll wheel on your mouse.
| | 03:14 | Now when we play this - Larry On Tape: Okay, that one's done.
| | 03:17 | Now let's do - Bruce Nazarian: Okay.
| | 03:18 | Larry On Tape: Let's do something relatively short.
| | 03:20 | Keep the answers relatively short.
| | 03:21 | Larry: So let's zoom back just a bit, cause I
want to be able to see this opening section here.
| | 03:26 | Here we go, and we could also use Command
+ and Command - to zoom in, zoom out.
| | 03:31 | Larry On Tape: Simply because I don't have -
Larry: I've heard that already, let's move forward.
| | 03:35 | Doo-de-doo, right here.
| | 03:36 | Bruce Nazarian: Okay, fair enough.
| | 03:38 | Larry On Tape: Here we go.
| | 03:40 | Bruce Nazarian: Okay.
| | 03:41 | Larry: Okay, so there's Bruce saying, "Okay," there's
me taking a big gasping breath, and then I say -
| | 03:45 | Larry On Tape: Bruce Nazarian is the - Larry: Okay, cool.
| | 03:48 | The first thing that I want to do is I want to select
this particular part of the clip right after he says,
| | 03:54 | "Okay," and I'm going to type Shift
- let's hear it - do it this way.
| | 03:59 | If I do Shift-Option and hit Home, notice that it selects
everything on both tracks at the position of the playhead,
| | 04:06 | but because I have the Arrow tool selected,
that selection selects the entire clip.
| | 04:13 | Instead, what I want to do is I want to use the Time Slice
because when I use Time Slice and type Shift-Option-Home,
| | 04:20 | it selects the portion of the clip, starting at the
beginning of the Timeline to the position of the playhead.
| | 04:27 | And, if I hit the Delete key, the Delete key will
delete that portion of the clip, but leave a gap.
| | 04:32 | If instead of hitting the Delete key
I do Shift-Delete, it deletes the clip
| | 04:37 | and pulls the entire clip up to get rid of the gap.
| | 04:40 | In Final Cut terms, we've done a lift delete with
the Delete key, or a ripple delete with Shift-Delete.
| | 04:47 | And for those of you that know Final Cut,
those keyboard shortcuts are exactly the same.
| | 04:51 | Now, let's take a listen to what the beginning sounds like.
| | 04:54 | Larry On Tape: Bruce Nazarian is the - Larry: A big gulping,
| | 04:56 | gasping breath at the beginning,
which we'll fix a little bit later.
| | 05:00 | Now, what we want to do next is we
want to get rid of the point on Track 2
| | 05:04 | where I'm talking, because that's going to get rid of the echo.
| | 05:07 | If I just solo my mike - Larry On Tape: President of the
DVD Association, as well as being - Larry: There's no echo.
| | 05:13 | It's when I hear both tracks together -
Larry On Tape: The guru on all things DVD.
| | 05:16 | Larry: - that we can hear the echo.
| | 05:18 | The echo is coming from the second track.
| | 05:21 | It's the latency coming back from the phone line.
| | 05:23 | We gotta change a setting.
| | 05:25 | Let's go to Soundtrack Pro preferences and go to General,
and I want to have the scroll wheel zoom in at the playhead.
| | 05:32 | So when that's set, now when I zoom in,
I can zoom in and out where I'm working.
| | 05:35 | Larry On Tape: And Bruce, thanks for joining us today.
| | 05:37 | Larry: Good.
| | 05:38 | Gotta give Bruce a chance to say, "Thank you," so now I want
to select everything from the beginning of the track to here.
| | 05:45 | Now there's a couple ways we could do that.
| | 05:46 | First, I'm going to select that track, and second, I
could use the Time Slice tool and simply drag across here,
| | 05:54 | or I could do Shift-Home, and that just simply
selects the single track where my playhead is.
| | 06:02 | That's also possible.
| | 06:04 | Or, there's another way we could do this.
| | 06:06 | And let's zoom in and I'll show it to you.
| | 06:08 | Notice that where I - my playhead is perfectly set, if I
select the clip - I have to have the Arrow tool selected,
| | 06:15 | type the letter A - if I select the
clip and type the letter S, it splits,
| | 06:21 | or slices the clip so that now I've
got the clip divided into two portions.
| | 06:28 | If I select the portion I want to
get rid of and hit the Delete key,
| | 06:31 | the Delete key will delete the clip and
not move this, so my sync is retained.
| | 06:36 | So I say, "Thank you," to Bruce - Larry On Tape: - us today.
| | 06:38 | Bruce Nazarian: It's a great pleasure to be - Larry: Because I
have this little lip click right here, I'm going to grab that
| | 06:43 | and just move it past the lip click so it sounds clean.
| | 06:45 | Larry On Tape: - joining us today.
| | 06:46 | Bruce Nazarian: It's a great pleasure to be here.
| | 06:48 | Larry: Good, now I want to go back to me talking and not have
my echo, so I'll use the Multiblade tool and slice right here
| | 06:56 | at the clip, and now I've got both clips sliced
here, so I can continue playing through my question,
| | 07:04 | use the Multiblade clip again, and slice right
here, and now I'll delete the second clip.
| | 07:10 | And what we're building is a checkerboard, where Bruce
is just talking during the portion where he's talking
| | 07:16 | and I delete his clip during the portion
where I'm talking, which gets rid of my echo.
| | 07:21 | What I'm going to do now is I'm going to
stop this movie, I'm going to delete the rest
| | 07:24 | of these, cause you guys don't have to watch that.
| | 07:26 | Oh, wait! There's one more thing I
gotta show ya, this is very cool.
| | 07:29 | This is something that we didn't talk about in the interface.
| | 07:31 | If I go down to here - I was about to save
you time, but we're going to waste it.
| | 07:35 | Watch this - so Bruce finish.
| | 07:37 | Bruce Nazarian: Good talking to you, Larry.
| | 07:38 | Larry On Tape: Okay, guy.
| | 07:40 | Larry: Okay, he just says - I say, "Thank you."
| | 07:41 | Larry On Tape: Thank you so much.
| | 07:43 | Bruce Nazarian: Good talking to you, Larry.
| | 07:44 | Larry: Okay, and right here we want to
have this whole thing fade to black.
| | 07:49 | So what I'm going to do now is I could, with the Time Slice
tool, select the Time Slice tool, do Shift-Option-End,
| | 07:58 | and it selects just that portion of the clip.
| | 08:01 | Or, and this is the cool part, if you notice right up here,
there's this little section - this is the Time Slice section.
| | 08:09 | If I click here and drag, notice that what I've just done
is I've set a Time Slice that goes across all the tracks.
| | 08:17 | So I can then hit the Delete key and boom, I've deleted it.
| | 08:21 | So if you wanted to do a Time Slice not from the
beginning, not from the end, but from the middle,
| | 08:25 | and you wanted it to cover all the tracks, you can click, hold
and drag that little Time Slice, which allows you to then slice
| | 08:33 | out or add a filter, or do whatever
you want to do to a particular clip.
| | 08:36 | For me, I tend to use this for editing.
| | 08:38 | So what I'm going to do now is I'm going to go
through and I'm going to build a checkerboard.
| | 08:41 | I'll save it so you guys can see what it looks like, and
I'm going to do that without having to have you watch,
| | 08:45 | cause it's just going to take another couple of
minutes, and it's doing the same thing over and over.
| | 08:49 | Either slice the clip, using the letter S key -
oh, and here's something else you should know.
| | 08:54 | I keep thinking of more cool stuff.
| | 08:57 | Notice that I've got a clip here, it's the same clip
but I've got an edit in the middle, which I don't want.
| | 09:03 | If you select both sides of the clip and
type the letter Option-S, it joins the clip.
| | 09:08 | This is like getting rid of the red bow tie around an edit point.
| | 09:13 | The video and the audio and the time code is the same
on both sides of a red bow tie edit inside final cut.
| | 09:19 | If you want to get rid of it, you click
on the red bow tie, hit the Delete key.
| | 09:22 | Same thing here.
| | 09:23 | If I have a clip that I have split with the letter S, I can make
that split edit disappear by selecting both sides of the clip
| | 09:31 | and typing Option-S, and then it'll
automatically take that edit point out.
| | 09:36 | So here I'd need to have the edit point disappear, do Option-S,
and now I've got my continuous track going through here,
| | 09:44 | and I'm getting rid of Bruce at the bottom, and I'm
just going to do that again for the other two questions.
| | 09:49 | Another way we can do this, use Time Slice tool, and click,
hold and drag, and hit the Delete key, and the Time Slice tool,
| | 09:57 | Delete key, and Time Slice tool, hit the Delete key.
| | 10:03 | Now when we're done, it looks like this.
| | 10:05 | I've got my questions, I've cleaned up the end,
and I've got Bruce's answers, and my echo is gone.
| | 10:10 | Larry On Tape: - DVD, and Bruce, thanks for joining us today.
| | 10:13 | Bruce Nazarian: It's a great pleasure to be here.
| | 10:14 | Larry On Tape: Bruce, for people that
don't know, what is the DVD Association?
| | 10:17 | Bruce Nazarian: The DVD Association is a world-wide,
non-profit trade association - Larry: Cool,
| | 10:22 | now what we've got is we've got all of our clips laid
in, they're synced up, I've gotten rid of the garbage
| | 10:26 | at the top and the tail, but we have two problems.
| | 10:29 | Problem No.
| | 10:30 | 1 is Bruce has a hum in it; Problem No.
| | 10:32 | 2. is I've got this big gulp at the beginning.
| | 10:34 | Larry On Tape: Bruce Nazarian - Larry: I want to fix
both of those, and I'll show you how in the next movie.
| | Collapse this transcript |
| Audio cleanup techniques| 00:00 | Okay, I've created a project called 01 Nazarian
Initial Edit, which takes me to the point
| | 00:05 | where we've gotten everything trimmed
and it's positioned properly.
| | 00:08 | Now I want to get rid of the hum
and get rid of the gasping breath.
| | 00:11 | So what we're going to do here is we could
double click this clip - oops, sorry,
| | 00:16 | we gotta be on the Selection tool here,
that's what that little clock thing is.
| | 00:21 | It indicates that - next to the cursor
- that indicates that we're
| | 00:24 | in the Time Slice tool, the letter A gives us a standard cursor.
| | 00:28 | If I double click it, it would open this up into a
audio file project, but there's a better way to work,
| | 00:33 | and that way is to type Control-S and make the lower pane appear,
select the clip, and make sure that we go to File Editor mode.
| | 00:41 | What File Editor mode allows us is all the process control
| | 00:45 | that we have inside the audio file
project, but we do it inside the Timeline.
| | 00:49 | We don't have to move stuff back and forth.
| | 00:51 | For instance here - (Bruce Nazarian: Non...Non-pro
-The D -) Okay, we've got a little bit of a hum here.
| | 01:01 | (Bruce Nazarian: The D - ) And I can here it
just before he does his lip click right there.
| | 01:04 | So what I'm going to do is select the pure hum, without any
talking, go to Process, Noise Reduction, set a noise print.
| | 01:11 | Then, I'm going to select the entire clip,
Command-A, everything is now selected,
| | 01:16 | and now go to Process, noise reduction, reduce noise.
| | 01:20 | And, having memorized the settings, this is exactly
what we did with noise reduction inside repairing audio,
| | 01:26 | it's just that he has different numbers, and
for Bruce, it's going to be around negative 45.
| | 01:30 | We're going to keep about 90% of the sound,
and when we're done, we click the Apply button.
| | 01:36 | I've now removed the noise from that whole clip.
| | 01:38 | (Bruce Nazarian: The DVD -) It's completely clean,
| | 01:41 | so all that little background hum is gone,
which makes him sound a whole lot better.
| | 01:45 | Well, let's use the exact same concept up here
on my gasping breath at the very beginning.
| | 01:50 | There's the gasping breath.
| | 01:52 | This is room tone, so I'm going to select the room
tone process, ambient noise, set ambient noise print,
| | 02:00 | select that which I want to get the gasping
gone from, go to Process, ambient noise,
| | 02:05 | replace with ambient noise, and poof,
that quickly my breath is gone.
| | 02:10 | So now when I play it - (Larry On Tape: Bruce -) A nice, clean
in, no gasping breath, nice lead, and everything is fine.
| | 02:17 | So all the techniques that we learned when we were
working with audio file projects are available
| | 02:21 | to us here inside the Timeline in the File Editor.
| | 02:26 | The cool part of it is, is that we
don't have to shift between projects.
| | 02:29 | I can now stay totally focused inside the
multitrack view and make these changes.
| | 02:33 | So everything that we've learned still applies, it's just
that now we're able to apply it in a different window.
| | 02:40 | Let's just hide this, Control-S.
| | 02:43 | We've been able to edit out pieces that we don't like, either
by doing a generic Time Slice that goes across all the tracks,
| | 02:49 | or by using the keyboard shortcuts, Shift-Home and Shift-M
and Shift-Option-Home and Shift-M and Shift-Option-End.
| | 02:56 | Or by using the Time Slice and simply
dragging where we want to delete stuff,
| | 03:00 | we can delete and leave holes, it's called a lift delete.
| | 03:02 | We can delete and tighten up, now it's a ripple delete,
by either hitting the Delete key, or the Shift-Delete key.
| | 03:09 | Now the last thing that we want to do is
we want to be able to apply transitions
| | 03:14 | so that it doesn't just sound like
Bruce is cutting in and cutting out.
| | 03:17 | We need to apply transitions not only at the
end of a clip, but I want to show you how
| | 03:22 | to apply a transition within the clip, and we'll do that next.
| | Collapse this transcript |
| Adding transitions| 00:00 | The next step in our clean-up process is adding
transitions because I want to blend where Bruce comes in.
| | 00:05 | And there's several ways we could do it.
| | 00:07 | We could do it with keyframes, but frankly, life is too short.
| | 00:11 | There's an easier way.
| | 00:12 | And then I want to show you how we can add transitions and
tighten up a little bit of the time so that there's a little less
| | 00:17 | of a pregnant pause between when Bruce
stops talking and when I ask the question.
| | 00:21 | We've already carved a good 20 second off this.
| | 00:23 | I think we can pick up another 5 or 6 if we work at it carefully.
| | 00:26 | Let's go first to the beginning here, and we'll
hit the Home key, and Command + to zoom in.
| | 00:33 | Here's a new feature inside Soundtrack Pro 2.
| | 00:35 | If you go up to the top corner, click, hold and drag near the
top corner, I've just added a fade-in that goes from dead silent
| | 00:46 | to fade-up, so it doesn't cut in now, it just fades in.
| | 00:49 | Let's do that again, and this time we'll hit the down arrow key
to jump to the next clip, and Shift-scroll wheel to move forward,
| | 00:57 | and I want Bruce's answer to fade in,
so I grab near the top corner and drag.
| | 01:03 | Because it's at the beginning, I'm
going to grab and drag to the right.
| | 01:06 | Now when Bruce starts talking - (Bruce
Nazarian: It's a great pleasure to...)
| | 01:09 | You don't hear his audio kick in,
and notice the hum is also gone.
| | 01:12 | (Bruce Nazarian: ...to be here.)
| | 01:12 | (Larry On Tape: Bruce...)
| | 01:13 | And now to add a fade-out at the end, click, hold and drag.
| | 01:17 | (Bruce Nazarian: ...here.)
| | 01:18 | (Larry On Tape: Bruce, for people that
don't know, what is the DVD Association?)
| | 01:22 | Now notice here how much space I've got between the time
I finish asking the question, and Bruce starts talking.
| | 01:29 | So what I'm going to do just to tighten this up is I'm going to
use the down arrow key to go right to the beginning of the clip.
| | 01:36 | I'm going to select my clip and S to split it.
| | 01:40 | I could use the razor blade, but S cuts whatever
clips are selected, cuts them at the position
| | 01:45 | of the playhead, just a faster way of slicing.
| | 01:47 | It's like Control-V inside Final Cut.
| | 01:50 | Now I'm going to grab my end here and drag it to about
there, and grab Bruce's end and drag it to about there.
| | 01:57 | The exact location isn't important,
but take advantage of this feature.
| | 02:02 | I've got a cut clip, so I'll put my playhead here, and I'm
going to type Shift, and as long as I'm in the Arrow tool,
| | 02:10 | Shift-End selects all the clips in a single track, or
Shift-Option-End selects all the clips in all tracks.
| | 02:16 | So now I can use this to pull my clips up, and we'll do
that just by zooming in here, and pulling our clips over.
| | 02:25 | Because they're all selected, everybody moves in
sync, and watch what happens where my two clips touch.
| | 02:31 | Notice how it automatically creates a transition so that it
blends any room tone from my first clip to my second clip,
| | 02:40 | and the duration of the transition is
based upon how much those clips overlap.
| | 02:44 | So here I'm going to add a transition for Bruce, and
now when I play it - (Bruce Nazarian: The DVD...)
| | 02:49 | (Larry On Tape: - Association?)
| | 02:53 | (Bruce Nazarian: DVD...)
| | 02:54 | Now there we're cutting a little bit of Bruce's audio,
a little bit too much, we're missing the word "The."
| | 02:58 | To get rid of the transition, all we have to do
is grab the end of it and drag it, grab the edge,
| | 03:05 | drag this out a little bit more, and drag this up so
that we get more of Bruce, and I'll drag this end over.
| | 03:12 | And notice as I drag the end, if there's a clip
next to it, it automatically creates a transition,
| | 03:18 | and that transition duration is based
upon how far in you drag the clip.
| | 03:22 | Well, that alone is cool.
| | 03:24 | Listen here.
| | 03:24 | (Larry On Tape: - ation?)
| | 03:25 | (Bruce Nazarian: The DVD-) There we go, much cleaner.
| | 03:27 | (Larry On Tape: - ation?)
| | 03:28 | (Bruce Nazarian: The DVD-) So we've got him starting to talk.
| | 03:30 | Here's the other cool thing.
| | 03:31 | If I double click on the transition, it opens up the Fade
Selector, and I'm able to say, "What's the kind of fade I want
| | 03:38 | on the outgoing clip, and what kind
of fade on the incoming clip?"
| | 03:43 | If I wanted a linear transition, you would click on the
linear transition, or this is a logarithmic transition,
| | 03:50 | or an exponential transition, or a split-S drunk driving down
the road transition, whichever you think is most important.
| | 03:57 | You're going to have the greatest
success if you select the default,
| | 04:02 | the logarithmic transition because audio was logarithmic.
| | 04:06 | What this means is if you had a constant tone fading to
a constant tone, there's going to be no change in volume
| | 04:11 | as you fade from the first tone to the second tone.
| | 04:14 | Here, if you select a linear transition, the audio's
going to dip a little bit in the middle of the dissolve.
| | 04:19 | It's going to fade down and then fade back up again.
| | 04:22 | But maybe that's what you want.
| | 04:23 | Or here you want to have the sound
quickly ramp down or quickly ramp up.
| | 04:27 | You've got different choices, but if you can't tell the
difference, or if you're not sure which one to select,
| | 04:33 | the default, the equal gain transition
is a really, really good idea.
| | 04:38 | So I recommend you stay with the default,
but if you need to change it, and it's easy,
| | 04:41 | just double click on the transition
itself, it opens up the Fade Editor,
| | 04:45 | and you can make changes to the outgoing
fade and the incoming fade.
| | 04:49 | Let's hold the Shift key down and scroll to the next clip,
and there's Bruce, and let's just put a long fade on this,
| | 04:57 | fade him out, and we'll select this clip right here, and
we'll split it, move it just so it's out of Bruce's way,
| | 05:06 | split the clip by typing the letter S. And I want to
tighten up my answer a lot, so we'll move over to here,
| | 05:13 | put our playhead in that clip, make sure we're on the
Arrow tool that selects entire clips, Shift-Command-End,
| | 05:20 | and pull my question up so it tightens up to him.
| | 05:24 | No, that's not what I wanted cause that clip moved.
| | 05:29 | Let's unselect this.
| | 05:31 | We'll just hold the Command key down, and now when I drag this
- or we can just drag a rectangle around the whole stupid thing
| | 05:38 | and stop arguing about the keyboard shortcuts.
| | 05:41 | Command + to zoom in, and drag this
over, set a transition, and play it.
| | 05:50 | (Bruce Nazarian: - ologies.)
| | 05:51 | (Larry On Tape: And who can -) (Bruce Nazarian: - nologies.)
| | 05:56 | (Larry On Tape: And who can become a member of the Association?)
| | 06:03 | (Bruce Nazarian: Anybody under the
sun that has an interest in -) Good,
| | 06:08 | now we'll just add a transition here,
fade him in, and scroll down.
| | 06:13 | We won't tighten any more up, we'll add
a transition there and transition here.
| | 06:18 | Now if I were doing this in real life, I'd tighten
this up, but you've already seen how we can do that.
| | 06:22 | We don't need to do it anymore.
| | 06:25 | You'll find a second file here, which is 02 Nazarian
Tightened, and I'll have tightened all this stuff up,
| | 06:31 | so if you want to see how I would do it in
real life, you can take a look at it there.
| | 06:35 | Do a slow fade-out, and kill this
and do a fade-out there as well.
| | 06:40 | And when we're done, our interview, which took
over a minute and change, is down to 51 seconds.
| | 06:45 | We've cut a fair amount out of it and smoothed it out.
| | 06:48 | This is now ready for mixing.
| | 06:50 | We've done our editing, we've repositioned
our clips, we've created favorites,
| | 06:53 | we've learned how to use the File Editor
to take out hum and add ambient noise.
| | 06:58 | We've learned how to split clips and put clips together and
use Time Slices for individual clips and multiple tracks.
| | 07:05 | We've done everything that we need to do
except set the levels and do the mixing.
| | 07:09 | And that's where we're headed in just a few minutes,
but there's other stuff I want to talk about first,
| | 07:11 | and that other stuff are Soundtrack
Pro scripts, and we'll do that next.
| | Collapse this transcript |
| Three-point editing| 00:00 | Before we leave editing inside the multitrack window, there's
a feature that we're used to inside Final Cut that's new
| | 00:06 | to Soundtrack Pro, and that's three-point editing.
| | 00:09 | The ability to specify an in and an out of a clip that comes
into the Timeline, and determine where in the Timeline it goes.
| | 00:15 | Just as we can do this in Final Cut, we can
also do it inside Soundtrack, and here's how.
| | 00:21 | If we take a look at the video that we've got, if we look
at our opening, we've got an outside shot of the restaurant.
| | 00:26 | (Audio plays: Welcome to the Taj Cafe, one
of over 19 restaurants owned by our family.)
| | 00:31 | Now the reason that we've got this audio is that it was
so noisy out there, we couldn't get a good clean recording
| | 00:37 | of him doing the welcome, so we had
him recite the same words inside.
| | 00:40 | But it would be helpful, I think,
to have the traffic noise to sort
| | 00:45 | of enhance the fact that we're standing outside the restaurant.
| | 00:47 | It's way too tight and not an outdoorsy sound.
| | 00:50 | So we're going to add a sound effect
here to lay traffic noise in,
| | 00:53 | but be able to control the volume so it doesn't drown him out.
| | 00:56 | First thing we're going to do is to add a
track cause I can put the wild sound anywhere,
| | 01:01 | but just to keep it so we can see what we're doing,
we'll put the track next to where he's talking.
| | 01:06 | So we'll Control-click inside a track and say, Insert
the track before, and it inserts a blank track.
| | 01:13 | Now, we'll put our playhead at the beginning, we'll hit the
Home key, and we'll move our playhead to the very beginning
| | 01:19 | of the Timeline, and notice the track that we
want to add the sound effect to is selected.
| | 01:24 | That's important because otherwise Soundtrack
Pro doesn't know where to put the audio.
| | 01:28 | Now we'll go over to the Search tab, and the Search tab allows us
to search for sound effects and music, and we'll be talking more
| | 01:34 | about music and sound effects a little later in this training.
| | 01:38 | And I'll click on, I want to find sound
effects, and we'll just enter the word "traffic"
| | 01:42 | and when we do, it finds a bunch of different traffic.
| | 01:48 | (Sounds Of Traffic) Larry: And turn our Preview off here.
| | 02:00 | Again, you would see this button down here to be able to
preview the traffic, but because my window's small, it's hidden.
| | 02:07 | We'll reveal the File Editor, Control-S to reveal the lower
pane, and click on the File Editor and drag our traffic
| | 02:15 | from the search window where we found it, where the sound
effects are stored, and drag it into the File Editor.
| | 02:21 | Now with the File Editor, let's find
some nice generic traffic noise.
| | 02:34 | Now the traffic noise that we need is going to be
about six seconds, it's about six seconds here.
| | 02:38 | So I'm going to drag out about six seconds,
but I'm not going to care a whole lot
| | 02:41 | about exactly how long it is cause we can
tweak it once it gets to the Timeline.
| | 02:47 | So here's what we've done, just to recap.
| | 02:49 | We've created a track that we want to put our sound effect in.
| | 02:51 | We could put the playhead anywhere.
| | 02:53 | In this particular case, I need it at the beginning,
so we hit the Home key to position at the beginning.
| | 02:59 | Playhead is positioned, track is created, track is
selected - that tells Soundtrack where to edit the audio -
| | 03:05 | and we've loaded the audio that we want to edit into the
File Editor and selected the range of audio we want to put.
| | 03:11 | Then this button right here is Spot to playhead.
| | 03:15 | When we click it, the audio is automatically - this left
edge of the selected area - is aligned with the playhead.
| | 03:22 | And if I want to make this a little bit longer,
we'll just stretch it out just a bit here, Option-Z,
| | 03:27 | and that expands the clip so we can see exactly
inside the window what we're working with.
| | 03:31 | I want to stretch this just a little bit longer
and add a cross-fade to blend it so it blends
| | 03:36 | in with what the transition is from outside to inside.
| | 03:39 | And now let's just take a look at it.
| | 03:41 | Hit the Home key, outside noises, and his talking.
| | 03:44 | (Audio plays: Welcome to the Taj Cafe, one
of over 19 restaurants owned by our family.
| | 03:50 | A lot of my -) Now there we could either kill the audio
as soon as we cut to the inside shot of the waiter,
| | 03:56 | but I think we're going to stay with
the traffic noise because it sort
| | 03:58 | of reinforces the fact that he was
standing outside talking to us.
| | 04:02 | And by having this fade here, it sort of disappears more
gently as we come from the outside shot to the inside.
| | 04:08 | (Audio plays: A lot of my customers have been wondering
what a -) So a three-point edit allows us to load a clip
| | 04:14 | to the File Editor, specify what
we want to cut into the Timeline,
| | 04:17 | and we can position it precisely at the spot of the playhead.
| | 04:21 | Very cool stuff.
| | Collapse this transcript |
|
|
14. Working with Soundtrack Pro ScriptsSoundtrack Pro script overview| 00:00 | Soundtrack Pro scripts automate audio processing, and
they're really good when you want to do the same thing
| | 00:05 | over and over because they're extremely fast.
| | 00:09 | You create your scripts in Soundtrack, but
you access the scripts from Final Cut Pro.
| | 00:15 | And I'll show you where scripts are stored inside your
home directory; however, there's a huge warning here.
| | 00:21 | Scripts make permanent changes to your audio files.
| | 00:25 | So you either have to convert your audio file into a
Soundtrack project, which you can do, or you have to understand
| | 00:33 | that when you run scripts, you're making permanent
changes to the source media stored on your hard disk.
| | 00:39 | For this reason, I tend to be very
cautious in using scripts simply
| | 00:44 | because I want the ability to always go back and change my mind.
| | 00:48 | So let me start by showing you how to
create scripts inside Soundtrack next.
| | Collapse this transcript |
| Creating scripts| 00:00 | We create scripts inside an audio file project.
| | 00:03 | So, I went to our Favorites folder, went to the Media folder
| | 00:06 | and I double clicked Wine Intro and
loaded it up into an audio file project.
| | 00:11 | Now when we look at the levels on this she's very quiet.
| | 00:15 | So what we want to do is we're going to double click the clip
to select the whole thing, go up to Process and Normalize
| | 00:20 | and we want the loudest portion of the
clip not to exceed negative 4 1/2 db.
| | 00:26 | When I click Okay, everything gets louder
and she's at a good level at this point.
| | 00:34 | Now, I don't necessarily want to change that clip.
| | 00:38 | Hypothetically what I wanted to do it to apply a
series of processes, in this case just Normalize,
| | 00:43 | I could apply others, and save them all as a script.
| | 00:47 | Now, in order to be able to save this as an Apple
script we have to be in an audio file project
| | 00:53 | and we have to apply something which is scriptable.
| | 00:55 | So save as in Apple script.
| | 00:57 | I want to call this Normalize_2_negative_.5 db.
| | 01:02 | And notice that it's saved inside
the Soundtrack Pro scripts folder.
| | 01:07 | I'll show you where this is in just a second.
| | 01:09 | So, the cool thing is I've now applied this.
| | 01:13 | But scripts are not accessed from within Soundtrack;
scripts are accessed from within Final Cut.
| | 01:19 | So before I go over to Final Cut and show you
how to do this script let me do one other thing.
| | 01:24 | Let's take this action here and take
Normalize out and let's do a fade up.
| | 01:30 | And we want the fade up to run exactly two seconds so let's
put this right at two seconds and we want to select everything
| | 01:38 | to the beginning of the clip so we'll do Shift
Home and now go up to Process and do a fade in.
| | 01:46 | And notice I've now got a fade in and so we'll
save this as a script and we'll call it Fade
| | 01:52 | in 2 Seconds, also saved inside the scripts folder.
| | 01:58 | You want to save it inside the scripts folder
otherwise Final Cut won't know where to look for it.
| | 02:01 | So we've created two scripts, one that affects an entire
clip and one that affects just a portion of a clip.
| | 02:07 | I don't need to save my work because all I want to do is
use this to create my script so I'm going to say Goodbye.
| | 02:13 | Now, let's switch out to the Desktop and
find out where those scripts are stored.
| | 02:18 | They're in your home directory.
| | 02:19 | Which means Shift Command H opens the home directory.
| | 02:24 | Inside the home directory, they're inside the Library folder.
| | 02:28 | Inside the Library folder they're inside the Scripts folder.
| | 02:33 | And inside the Scripts folder is a Soundtrack Pro scripts folder
| | 02:36 | and there's our two scripts that
we created inside Soundtrack Pro.
| | 02:42 | So, we create scripts by doing audio file processing, going up
to File, Save As and doing all of that inside Soundtrack Pro.
| | 02:51 | What I'm going to do next is show you how
to access those scripts inside Final Cut.
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| Accessing scripts inside Final Cut Pro| 00:00 | I've created a Final Cut project called 03_Scripts.
| | 00:04 | Now remember, scripts can make permanent changes
to your files so you may need to be careful here.
| | 00:09 | I'm just giving you a heads up.
| | 00:10 | And I've loaded our Wine Intro.
| | 00:12 | Now if we look at the sound notice that she is very, very quiet.
| | 00:18 | So, rather than have to go through and normalize this one clip at
a time what we'll do is we will edit her down into the Timeline
| | 00:28 | and we will then Control-click on the audio
and send it to a Soundtrack Pro script.
| | 00:34 | And there's the two scripts that we created one that
normalizes the clip to negative 4 1/2 db and the other
| | 00:40 | that puts a two second fade-in at the beginning.
| | 00:43 | So, I click on Normalize 4 1/2 db and it pops up a
warning message; this is new with Final Cuts Studio 2.
| | 00:50 | It warns us that these are not Soundtrack projects.
| | 00:54 | And because they're not Soundtrack projects, because it's
an audio file itself, it will be permanently changed.
| | 01:00 | So, we've go three options, Cancel
aborts the whole procedure, No,
| | 01:04 | changes the source file on your hard disk
or Yes, creates a Soundtrack Pro project.
| | 01:10 | If you know you want to make your changes permanent then say No
and it will automatically make the changes to your source files.
| | 01:16 | If you want them converted to a Soundtrack Pro project, say Yes.
| | 01:20 | Because I just want to illustrate
how this works I'm going to click No.
| | 01:24 | And now it's going to open up Soundtrack, normalize
the clip and feed it back directly into Final Cut.
| | 01:33 | And now when we look at the volume of this
clip and I play it, she's much louder.
| | 01:42 | So the process is very quick.
| | 01:44 | It automatically took the clip, sent it to Soundtrack, applied
the script, saved the file, loaded it back into Final Cut
| | 01:51 | and I just had to wait for a little bit
of time for that processing to occur.
| | 01:54 | This makes life very easy if I wanted to process a whole
lot of different files and have them all normalized
| | 01:59 | to about the same level Now, let's try one more script.
| | 02:03 | If I take this clip off and I apply, say, a
ten second tone, remember we created a script
| | 02:10 | and what that script did is it put a two
second fade up at the beginning of our clip.
| | 02:15 | Let's put a twenty second clip in here.
| | 02:17 | Now in earlier versions of Soundtrack this would cause
us a problem but Apple fixed it in the latest version.
| | 02:23 | So I've got a twenty second long clip which is
much longer than the clip I created the fade from
| | 02:28 | and I want to say No because I want to change to be permanent.
| | 02:31 | It now does exactly a two second fade-in.
| | 02:35 | In the past, the duration of the fade would
be based upon the duration of your clip.
| | 02:40 | But here our fade is exactly two seconds.
| | 02:43 | So if we put it right about there, okay?
| | 02:46 | We're close enough to two seconds,
there's our two second fade-in.
| | 02:51 | So, what this is doing is that unlike earlier versions of
Soundtrack which would change the script based upon the duration
| | 02:57 | of the clip, if you say put a two second fade-in
regardless of the length of the clip that goes
| | 03:01 | into the script that's the duration of
the effect that will be applied to it.
| | 03:06 | So scripts are very good for batch
processing, scripts are very fast,
| | 03:10 | scripts allow us to do repetitive things, over and over again.
| | 03:14 | We create scripts inside a Soundtrack audio file
project and we access scripts from inside Final Cut.
| | 03:21 | Scripts can be a useful part of your arsenal as long
as you remember that they're making permanent changes
| | 03:26 | to your files unless you convert them
to a Soundtrack Pro project, first.
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|
|
15. Working with LoopsMusic loop overview| 00:00 | In this chapter we'll work with music loops and
because we're working with music, not the spoken word,
| | 00:05 | there's new sections of the interface we get to explore.
| | 00:08 | We'll start by finding, auditioning and placing
loops, and then we'll discuss time and key signatures,
| | 00:13 | transposition and doubling, tempo changes
and I'll introduce the Apple Loops utility.
| | 00:19 | First though, a couple of definitions.
| | 00:21 | Tempo is the speed of a clip or a project.
| | 00:24 | It's the beat.
| | 00:25 | It's the, you know, when you're tapping your foot the speed your
foot's tapping is measuring the tempo of a clip or a project.
| | 00:31 | Key is the pitch of a clip or project.
| | 00:34 | Now I know every music student has just cringed
because key is actually the foundational harmonic upon
| | 00:41 | which the entire musical piece is based but I
didn't have enough room to right that on the slide.
| | 00:46 | So, key is the foundational pitch of a clip or project.
| | 00:50 | You know key intuitively, but defining
it can take a semester in music school.
| | 00:55 | The default time signature for Soundtrack
is a 4/4 measure at 120 beats per minute.
| | 01:00 | The higher the beats per minute the faster the clip plays.
| | 01:03 | The slower the beats per minute the slower the clip plays.
| | 01:05 | Something around 90 is like a funeral dirge and
something around 140 is a really fast rock beat.
| | 01:12 | The default key signature for Soundtrack is the
key of A and it can be changed in half steps.
| | 01:17 | Changing the time signature, the measure
of tempo, does not change the pitch,
| | 01:22 | it only changes the way the music is counted in the time line.
| | 01:25 | Changing the time signature, say from 4/4 to 3/4
does not change the way the music is created,
| | 01:31 | it only changes the way the music is counted in the time line.
| | 01:35 | And Soundtrack can display either time code or beats.
| | 01:38 | Now, if none of this makes sense to you, don't panic.
| | 01:40 | We're going to explain a lot of it as we go along.
| | 01:43 | A loop is a short clip of music with no beginning and no
end that can seamlessly repeat an unlimited number of times.
| | 01:51 | And what we're going to start with is presenting
some music related parts of the interface.
| | 01:55 | I'll show you how to search for and
select loops, how to preview loops,
| | 01:58 | how to place loops in the time line,
how to stretch, move and trim loops.
| | 02:02 | And to give you a sense for how Soundtrack can keep track
of project setting like time signature, tempo and pitch.
| | 02:09 | All of that is next.
| | Collapse this transcript |
| The music loop interface| 00:00 | Everything we've already learned about soundtracks
still applies when we start to work with loops.
| | 00:04 | But when we work with music we've got
some additional controls at our disposal.
| | 00:08 | Here's a brand new project that I've created and I've hit
the F1 key to get ourselves back to the standard layout.
| | 00:14 | First thing that I want to do is get ourselves
some room to work and I don't need the bottom pane.
| | 00:18 | So Control S will make that disappear.
| | 00:21 | And in a minute I'm going to make the right-hand pane disappear
| | 00:24 | but for right now I need it because
we're going to go to the Search tab.
| | 00:28 | The Search tab allows us to look for things like
sound effects or instruments or anything else.
| | 00:33 | Now there's two ways that we can look for them.
| | 00:35 | This is like a database listing of all the elements
inside the library and there's over 5,000 loops,
| | 00:41 | sound effects and music, that ship with Soundtrack.
| | 00:44 | I could look at it in List view or I can look at it Category view
and in many cases for me Category view is easier to work with.
| | 00:52 | You can easily toggle back and forth
by selecting these two switches.
| | 00:56 | It's simply a display of do you want to
see it in List view or Category view?
| | 01:00 | Once I switch to category view a couple of choices open up.
| | 01:03 | We can look for music beds which are completed
pieces of music that are already mixed
| | 01:08 | and all the elements are complete you just simply drag them in.
| | 01:11 | And by the way, all these are royalty
free so you can use them for any project
| | 01:14 | that you create, or we click for individual instruments.
| | 01:18 | I'd like to start by looking for an individual instrument and
we'll look for a piano and we'll just pick something here.
| | 01:29 | On your system because your screen is going
to be bigger than mine this allows you
| | 01:33 | to audition or not audition the particular clip.
| | 01:37 | You can get it to play by clicking but then the only
way you can get it to stop is to find that button.
| | 01:42 | So that's why I keep dragging the search up just because I
have to get down to that button to get the music to stop.
| | 01:47 | We're not going to dock it.
| | 01:48 | We're going to leave it here so I
can leave that thing right there.
| | 01:50 | Okay, now I could simply grab this clip and
drag it over but there's a couple of other ways
| | 01:56 | that Soundtrack makes possible spotting of clips not
just loops, but sound effects and any other audio file.
| | 02:03 | If you Control-click on it you can spot it to the playhead.
| | 02:05 | This means the beginning of the clip
goes to the position of the playhead.
| | 02:09 | I'll just move the playhead here so we can see that.
| | 02:11 | Control-click, spot the playhead and
boom, it automatically loads the clip.
| | 02:16 | If no track is selected it puts it on Track 1.
| | 02:19 | If, on the other hand, you select a track
so that it's highlighted then when we spot
| | 02:23 | that to the playhead it automatically get
spotted to whatever track is selected.
| | 02:28 | Now there's another option we've got and this is
the ability to spot it to a particular time code.
| | 02:32 | So I can Control-click on this and say, Spot
to Timeline at the particular time code.
| | 02:37 | Right now my playhead is 1 second, 24 frames in.
| | 02:40 | I'd like to set this at 3 seconds, hit the Tab
key, 00 and spot this to 3 seconds on the Timeline
| | 02:48 | so therefore I can put a clip wherever I want
by dragging at the position of the playhead
| | 02:53 | or at a specific Timeline position via time code.
| | 02:56 | You can also spot it via embedded time code.
| | 02:59 | So let's say that the Timeline and
your clip had the same time code,
| | 03:03 | this would be true of a QuickTime movie or a broadcast wav file.
| | 03:06 | You could instantly sync the two of them up based upon matching
the time code in the clip to the time code of the Timeline.
| | 03:11 | Let's get rid of this second clip here because
otherwise the same piano playing slightly out of sync
| | 03:16 | with itself will drive us all nuts,
and drag this over to the beginning.
| | 03:20 | Because I'm done with this search I want to
show you some other stuff for a few minutes.
| | 03:23 | We'll just dock this and type Control+
D, make the whole right pane disappear.
| | 03:29 | Now, let's look at this clip.
| | 03:30 | This clip can repeat over and over and over again seamlessly.
| | 03:35 | That's the definition of a loop.
| | 03:36 | If we want to make a clip run longer we grab the edge
and drag it out and now our piano repeats over and over.
| | 03:48 | (Music plays.)
| | 03:49 | Okay? If we want to make the clip shorter we drag it and now...
| | 03:59 | (Music plays.)
| | 04:00 | Okay, now that didn't quite repeat seamlessly
and that's because we have snapping turned off.
| | 04:06 | If we turn snapping on, either by typing the letter N
or turning snapping on the clip will automatically snap
| | 04:13 | to these gray lines which are the measure lines.
| | 04:15 | See the rounded corner?
| | 04:17 | That means that we've got the complete loop.
| | 04:19 | If we just drag it a little bit so we don't
have a rounded corner, see the square edge?
| | 04:24 | That tells us that there's going to be
a jar as it goes back to the beginning.
| | 04:27 | Listen. (Music plays.)
| | 04:30 | See, that's a mistake.
| | 04:31 | Turn snapping on, drag it so it snaps and you get the
rounded corners and now you'll never hear the edit.
| | 04:47 | (Music plays.)
| | 04:48 | Now, yes, there's a pop because it has to reset but
the concept is that we're using the entire clip.
| | 04:52 | That's what the rounded edge refers to.
| | 04:54 | But there's more to this loop than might at first meet the eye.
| | 04:57 | For those of you that are unfamiliar
with music, music has both a beat -
| | 05:01 | number of beats per minute or beats
per second and it has a pitch.
| | 05:05 | Now, yes, a piano's got multiple pitches but they're all based
upon a foundational key like the key of C or the key of A
| | 05:12 | which determines what notes harmonize well with other notes.
| | 05:15 | Semesters are spent in music school just tearing
that definition apart but it'll work for right now.
| | 05:20 | Just as a loop has a key and we can see that by opening up the
right hand, notice that this is a tempo of 80 beats a minute,
| | 05:28 | it's written in the key of C and this particular loop
consists of 16 beats I feel like I'm doing music theory.
| | 05:34 | If we go over to the Project tab and scroll all the
way to the bottom, by definition Soundtrack has all
| | 05:41 | of the beats standardized at 120 but this was written at 80.
| | 05:46 | So what Soundtrack does invisibly to you is it automatically
speeds up the tempo so that what was originally done
| | 05:53 | at 80 is now tracking at 120 and it adjusts the pitch so
that the tempo can be increased but the pitch doesn't change.
| | 06:01 | Now this is almost like magic because
normally when you speed something up
| | 06:04 | or slow something down the pitch gets higher or lower.
| | 06:08 | Not in the case of loops with Soundtrack.
| | 06:10 | Notice also the time signature.
| | 06:12 | This is a 4/4.
| | 06:13 | This is like a rock beat, this is 1-2-3-4, 1-2-3-4
where the downbeat is the first beat of a measure.
| | 06:20 | A measure consists of 4 beats.
| | 06:22 | This says how many beats are in a measure.
| | 06:24 | A measure is defined as the distance between
those vertical gray lines and it's what
| | 06:29 | when you're tapping your foot you're most often tapping your foot
to the downbeat of the music, the first beat of every measure.
| | 06:35 | Well, we've got multiple different beats that we can work
with, 3/4 which is a waltz or a polka, rock which is 4/4,
| | 06:42 | jazz which is 5/4, 6/8, 7/9, 9/6, 6/1 - jazz loves coming
up with different beats and it's almost never 3/4 or 4/4.
| | 06:51 | This does not change the structure of the music, it simply
keeps track of how it's counting from your point of view so that
| | 06:58 | up here this is 8 measures, the 3rd beat in the 8th
measure and 3/100th of a second within that measure.
| | 07:06 | So this is a way of tracking measures
and beats which is a musical way
| | 07:10 | of counting the way the time code is the way of counting video.
| | 07:13 | Okay, the last step is the key signature and
we'll stretch this out - let's make that disappear
| | 07:19 | and stretch this out just a bit more so we can hear.
| | 07:23 | It's going to be the same thing looping over and over.
| | 07:25 | Now, when we play this listen carefully, (Music plays.)
| | 07:35 | You hear how it comes back to that same note?
| | 07:37 | It goes - starts at a higher note, goes
down a few notes and then comes back up
| | 07:41 | and just keeps doing that descending a round of notes.
| | 07:44 | Well, all of that harmony is built in the key of A.
We can change the key and listen as we transition.
| | 07:51 | Every time it hits this line here - I'm going to
do it three times, I'm going to change the key.
| | 07:55 | It's called transposing.
| | 07:57 | It'll happen at the line.
| | 08:16 | (Music plays.)
| | 08:16 | This is a very popular technique of composers
for, I don't know, the last 500 years.
| | 08:21 | It's called a modulation.
| | 08:23 | It adds excitement to the music and we'll talk more
about that a little bit later in this section on music.
| | 08:28 | What I'm pointing out, however, is two things.
| | 08:30 | Number one, you can change the tempo, the timing of
a clip without changing its pitch and number two;
| | 08:35 | we can change its pitch without changing its timing.
| | 08:38 | We have standards here that affect the entire
project but we can also affect the pitch
| | 08:44 | of a specific clip and we'll talk about that in transposition.
| | 08:47 | So what we've seen, just to get a sense of what's
going on, is that in video terms we're used
| | 08:52 | to tracking everything we do in terms of time code.
| | 08:54 | When we work with music we're instead working with
measures and inside measures we're working with beats.
| | 08:59 | So here I've got the 10th measure,
the 4th beat and inside that I'm
| | 09:03 | at whatever it is - that's measured in thousandths of a second.
| | 09:06 | We can control the tempo and the key in the Project menu and
we can select our music by the Search tab and select it by type
| | 09:14 | of music or by genre or by descriptors and
we can select it from a list or from here.
| | 09:20 | I cannot begin in this title to redo
an entire theory of music class.
| | 09:25 | Soundtrack is just way too big and
music is even bigger than that.
| | 09:28 | But I do want to show you a couple of ideas that
you can use in terms of how we work with music.
| | 09:33 | So we've been able to preview our loops, we've
been able to place our loops to the Timeline;
| | 09:37 | we've been able to stretch and trim our loops.
| | 09:38 | If you ever need to cut a loop put your playhead where
you want to cut it, select the clip, type the letter S,
| | 09:44 | that splits the clip, or you can use the razor
blade tool, we've already learned how to do that
| | 09:48 | and select different portions of the clip to make disappear.
| | 09:52 | The time slice tool still works exactly the same way.
| | 09:55 | So everything that we've learned about editing
clips still works the same way with music,
| | 10:00 | it's just music is music as opposed to speech.
| | 10:03 | Let's take a look at what happens when we put our loops
together and create some music and we'll do that next.
| | Collapse this transcript |
| Using loops to create songs| 00:00 | Okay, here is a piece of music I created.
| | 00:03 | Yes, I myself have created this piece of music that hearkens
back to the 1970's, the days of my youth when R and B was famous.
| | 00:12 | And this is why I never got a career as a composer.
| | 00:14 | And you'll be able to play this yourself, it's 04_Larry_RandB.
| | 00:19 | Now, it starts with a loop of a conga loop.
| | 00:22 | Let's just mute this and hear it for a second.
| | 00:24 | I'm sorry, solo it and hear it for a second and hear
how that just repeats over and over and over again.
| | 00:33 | That's the whole point of a loop.
| | 00:35 | A loop plays itself over and over.
| | 00:37 | Now the good thing about it is that it repeats endlessly.
| | 00:39 | The bad thing is it never goes anywhere.
| | 00:42 | So the challenge in working with loops is to
figure out how to combine them so that it seems
| | 00:46 | like the music has got a beginning, a middle and an end.
| | 00:49 | So let's add another piece to this.
| | 00:51 | Let's add an acoustic drum to it as well.
| | 00:53 | Okay, good.
| | 00:53 | Now we've got ourselves a beat going here.
| | 00:56 | And again, this is on your exercise
files so you can play with it.
| | 01:07 | So what I did was I went to the Search menu and I kept
looking for different pieces of music to put together
| | 01:14 | and I added an organ, it's the 1970's after all, this is retro.
| | 01:19 | Okay, then I felt we needed to add something
that's got some punch so we added some horns.
| | 01:35 | And you're starting to see how these layers are
building together to create the overall effect.
| | 01:40 | We started with our percussion, we set the beat.
| | 01:45 | We then added an organ to sort of fill in the middle and then
to provide some drive at the high end we added a trumpet.
| | 02:00 | Well, where would we be in the '70s if we didn't have a piano?
| | 02:07 | So we added a piano as well.
| | 02:09 | And then to do something totally different.
| | 02:12 | tempo. Okay, it didn't change the tempo; the
tempo remained the same, that was the wrong word.
| | 02:44 | But we changed the whole feeling.
| | 02:46 | We switched out from one drum kit to another drum kit and
we changed out the organ and we added an electric bass.
| | 02:55 | See what we're doing here is we're using the loops not
for a long stretch of time but each loop is only used
| | 03:00 | for a short little piece of the music
and then it's being combined
| | 03:03 | to create the theme, the feeling of the music that we want.
| | 03:06 | Now, this is absolutely something which is both seductive and
it's one of those things where once you start playing with loops,
| | 03:12 | hours go by and you have no idea how you spent your
time because it's just so much fun to tweak these.
| | 03:17 | What I've found, however, is just because
you're having fun creating it doesn't mean
| | 03:20 | that anybody else is going to have fun listening to it.
| | 03:23 | Creating music is an art and we're not going to spend a
whole lot of time here because I think this is kind of cool
| | 03:28 | but I've seen small children run screaming
from the room when they try to listen to this.
| | 03:32 | So, you know, your sense of what good
music is may be different than mine.
| | 03:35 | But I wanted to illustrate how we are combining these loops
to create a sense of music and a flow from beginning to end.
| | 03:41 | A couple of other things, we're going to talk about how levels
are set and a couple of other things in the mixing section.
| | 03:47 | We're going to come back to this because there's
some interesting mixing that's going on here.
| | 03:50 | But notice what I've done.
| | 03:52 | Each loop is its own track.
| | 03:54 | Soundtrack will have up to 255 tracks.
| | 03:57 | You've got plenty of tracks to work with and you're going to
find when it gets time to mix that the more that you concentrate
| | 04:02 | on having the same sound on the same track whether
it's a talking head or b-roll or an instrument the more
| | 04:09 | that you have the same sound on the same track the easier
your mixing gets to be because that way you can set levels
| | 04:15 | for the entire track or you can set
e-q or you can set a particular filter
| | 04:19 | for the entire track and that's exactly what I did here.
| | 04:22 | Here's all of my organ, there's all of the
electric bass, there's my drums, there's the conga.
| | 04:26 | In other words, I've checker boarded the creation of this
music to make it easy to find stuff and easy to mix stuff.
| | 04:34 | So what we've done is we've started with a single
idea of a loop and we've moved it up to a whole song
| | 04:40 | by adding multiple loops to create the track.
| | 04:42 | But there's another really cool feature that Soundtrack
provides and that's the ability to maintain pitch
| | 04:47 | and change tempo or maintain tempo and change pitch.
| | 04:51 | We're going to experiment with transposition and doubling next.
| | Collapse this transcript |
| Transposition and doubling| 00:00 | Okay, now we're working on a project called 05_doubling
and I want to spend a little bit of time looking
| | 00:05 | at this whole idea of transposing and changing the pitch.
| | 00:09 | So let's start with what I think should be in
every piece of music a basic high hat pattern.
| | 00:14 | Okay, that's got a nice beat to it.
| | 00:21 | Now let's flesh it out with an acoustic drum kit.
| | 00:31 | Now, what could possibly go with an acoustic
drug kit and a basic high hat pattern?
| | 00:35 | Well, obviously an orchestral brass and woodwinds.
| | 00:37 | Okay, cool.
| | 00:46 | Now we've got the basic rhythm set down, turn off the
solo here, remember that's what the letter S does.
| | 00:51 | S means that a track is soloed, you hear just that track and
no other track and I had three of the four tracks soloed.
| | 00:57 | But listen to how thin these are.
| | 00:59 | This isn't a very rich sound yet.
| | 01:05 | So what can we do to make this sound a little bit richer?
| | 01:08 | Well, here's what we can do.
| | 01:10 | If we hold the Option key down the Option key allows
us to make a copy of a clip, not just a loop, any clip.
| | 01:18 | Well, if we hold Shift and Option down it allows us to make
a copy and constrains its movements so it stays in sync.
| | 01:26 | Now that we've got a copy let's take advantage of what
Soundtrack allows us to do, let's play with the speed
| | 01:31 | and let's play with the pitch of this second clip.
| | 01:34 | So let's just focus on these two and if we
highlight the clip and go over to the Details tab,
| | 01:40 | notice here we've got a Transpose option and a Clip Speed option.
| | 01:44 | Let's play with the Clip Speed option first and slow it to half
speed and listen to the difference, something very interesting.
| | 02:01 | Now in this particular case that's a fascinating
effect, has a very nice feeling to it.
| | 02:05 | Now, for somebody talking it would drive you
completely nuts but this might work for you
| | 02:09 | and you can change the clip speed inside the Details tab.
| | 02:13 | But for me the really exciting part is the Transpose.
| | 02:16 | So we've got our speed back to normal.
| | 02:18 | A musical octave is broken down into twelve half
steps, part of what Bach invented about 400 years ago.
| | 02:25 | And these are the twelve half steps, this raises
the pitch a half a step up making it higher in tone,
| | 02:31 | this takes the pitch and makes it a half a step lower in tone.
| | 02:35 | If I raise it a full twelve half steps or lower
it a full twelve half steps we have an octave.
| | 02:41 | And octaves are always harmonious with each other.
| | 02:44 | So I'm going to make this a one octave drop and then I'm going to
grab the leading edge and so you can hear the difference listen
| | 02:51 | to what happens before the doubling comes in and second,
when we transpose it down an octave and double it.
| | 03:05 | So what we did is that we were able to add
richness and harmony by simply doubling
| | 03:19 | down the instrument and we'll just make a copy of this one here.
| | 03:22 | We'll do Option Shift drag down.
| | 03:25 | So let's listen to this one more time.
| | 03:27 | If we start this at the beginning and turn
off our soloing here's the instrument,
| | 03:35 | and we'll add the percussion, and we'll double down.
| | 03:43 | So what we did is we took a clip and we made a copy of it and
transposed it down an octave and what it allows us to do is
| | 04:05 | to improve the richness of the music
and when we do it sounds like this.
| | 04:11 | So you can play with these clips yourself
and see what you can achieve with them.
| | 04:14 | But there's something else interesting
we can do with transposition.
| | 04:17 | Let's open up this other project that we crated, Project #4.
| | 04:22 | There's another way that we can transpose,
well, here for instance,
| | 04:25 | if we listen to what we've got we've transposed
here on the horns, if we listen to the trumpets.
| | 04:31 | So I've got the trumpets set - the horns at this -
| | 04:42 | at the base and then I transposed them up
five half steps so they play in harmony.
| | 04:48 | Again, to give us just a little bit more edge on the high end.
| | 04:51 | So while I've transposed the individual clip there's another
feature that Soundtrack provides which is the ability to modulate
| | 04:58 | or transpose the entire project and we get there
down here with this little purple flying space eater.
| | 05:05 | When we go down there it opens up a series of envelope controls.
| | 05:09 | This allows us to transpose the entire project, change
the tempo of the entire project or change the volume
| | 05:17 | of the entire project, remember transpose affects the pitch.
| | 05:21 | So what I'm going to do here is I'm going to put a
transposition in right at this point just because it's going
| | 05:26 | to be really obvious and we'll add a keyframe.
| | 05:28 | We've got a whole section on keyframes coming
and we'll talk more about them in just a minute.
| | 05:33 | But I want to put a keyframe in and take this
up a whole step and see if this doesn't sound
| | 05:38 | like every bad B-movie track you've ever heard.
| | 05:49 | For some reason for about the last 10,000 years we've been
programmed that whenever the tempo of a piece of music increases
| | 06:06 | or whenever the pitch goes up it gets more dramatic, it
gets more exciting, it gets more engaging and I tell you,
| | 06:16 | composers have been leveraging this transposition trick
for a long time and now you know how to do it, too.
| | 06:23 | But we still have a couple more things to
talk about with both transposition and tempos.
| | 06:28 | So let's go back for a summary of what
we've covered and we'll do that next.
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| Time, key, and tempo| 00:00 | So let's just summarize a couple
things we've already talked about.
| | 00:03 | Tempo is the speed of a clip or a project,
key is the pitch of a clip or a project
| | 00:08 | and we can change the key in a process called transposing.
| | 00:12 | The default time signature, that is to say the way
that Soundtrack tracks beats and measures is 4/4,
| | 00:18 | that is to say a single measure contains 4
beats and it defaults to 120 beats per minute.
| | 00:23 | You can change the speed of the beat by going
over to the Project tab and changing it there.
| | 00:28 | The default key signature, foundational pitch for a
Soundtrack is the key of A and it can be changed in half steps.
| | 00:36 | Changing the time signature does not change the music it
only changes the way the music is counted in the Timeline
| | 00:42 | and Soundtrack can display either time code or beats
depending upon whether you're working in video or music.
| | 00:47 | When you're transposing, transposing
changes the pitch of a loop or a project.
| | 00:53 | Only loops can be transposed, not imported music
and not music beds inside Soundtrack, only a loop.
| | 01:00 | Transposing is often used to double a clip, that is,
to add harmony or add richness to a piece of music
| | 01:06 | and transposing a project, which is called
modulation, is often used for dramatic purposes.
| | 01:12 | Tempo can only be changed for the
entire project not individual clips,
| | 01:17 | although you can do speed changes
as we saw for an individual clip.
| | 01:21 | You don't have infinite variability.
| | 01:22 | You can double it or cut it in half.
| | 01:25 | Clip tempos are automatically altered to match the project tempo.
| | 01:28 | So if a clip was recorded at 90 beats a minute
and the project goes at 120 the clip will be sped
| | 01:34 | up so that its tempo matches the project tempo.
| | 01:37 | Tempo can be changed globally for an entire project
or within a project as we saw using keyframes.
| | 01:42 | And please, for the good of humanity,
just use tempo changes sparingly.
| | 01:47 | Now the magic of loops as opposed to music is
that loops are specially encoded to be able
| | 01:53 | to tell Soundtrack what pitch they are, what key
they're in and what tempo they go in and that's done
| | 01:58 | through a project called the Apple Loops utility.
| | 02:01 | I don't have a lot of time to go into it but I want to
show you where it is and show you how it's organized.
| | 02:06 | And we'll do that next.
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| Introducing the Apple Loops Utility| 00:01 | The Apple Loop utility is inside the Utilities
folder called the Apple Loops utility.
| | 00:06 | When you double click it, it looks like this.
| | 00:09 | Now there's two sides to the loop utility.
| | 00:11 | One is where you're able to open a loop, that
is to say, a self-contained piece of music,
| | 00:15 | and you define how many beats it is to the
measure, whether it repeats itself seamlessly
| | 00:20 | or whether it's non-looping you're able to
specify key and scale and time signature.
| | 00:26 | Then these are the different criteria
that we use to be able to find it.
| | 00:29 | You can specify your tags, how - whether it's drums and, if
so, what kind of drums, what kind of descriptors you would use.
| | 00:36 | So this is the database side where
we're able to keep track of it.
| | 00:40 | The transient side is where we're
able to specify what the beats are.
| | 00:43 | So as we play this notice that each of
those markers refers toward the beat.
| | 00:48 | There's beat 1, 2, 3, 4.
| | 00:51 | And this is the marking that has to
be done before a loop gets imported
| | 00:56 | so that Soundtrack knows exactly how it can change the
tempo or by knowing what the key signature is how it's able
| | 01:02 | to change the pitch without changing the tempo.
| | 01:05 | If a piece of music has not been processed by the
Apple Loops utility you won't be able to transpose it,
| | 01:11 | you won't be able to change its speed
the way that we were working
| | 01:13 | with because Soundtrack doesn't have the necessary
data about the music to know what to do with it.
| | 01:19 | The Apple Loops utility is, again, stored inside the
Utilities folder and it's called the Apple Loops utility.
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16. Working with EffectsEffects overview| 00:01 | Effects, like loops, are located in the Search tab.
| | 00:04 | So everything we've learned about loops also
applies for effects including how we find them.
| | 00:10 | In this case, however, I want to show
you how to understand effect track count,
| | 00:14 | how to spot sound effects using the multipoint viewer
and show you a new editing option called Edit/Paste Mix
| | 00:20 | which is available to us inside the audio file project.
| | 00:24 | Additional things that we can do with
effects, we'll talk about that next.
| | Collapse this transcript |
| Finding effects| 00:01 | Just as we look for music in the Search tab we
also look for sound effects in the Search tab.
| | 00:05 | We can look in List View or we can look in
Button View, I guess, is the best way to put it.
| | 00:10 | Then you can look for sound effects
or instruments, etcetera, etcetera.
| | 00:13 | In our case we're going to look for sound effects and
they're grouped by ambience and noises that people make
| | 00:18 | and transportation and weapons or you can search for
categories by clicking on more than one category.
| | 00:23 | You can look for - in other words this is a search thingy.
| | 00:27 | You know how to do use search thingies.
| | 00:28 | So, here I've got - let's go back to F1 so we can see our video.
| | 00:34 | We've got our famous biplane pilot talking about biplane
kind of things and we've added a piece of biplane video here.
| | 00:42 | But notice that we go from guy talking to planes flying.
| | 00:48 | What we need to do is we need to add a sound effect that
says maybe the plane should be starting before they fly.
| | 00:54 | So we're going to do that by Control A to make that
video tab disappear, Shift Z to expand it to fit
| | 01:01 | and I've added a track and let's call it Biplanes Start.
| | 01:05 | So let's click on Search, I'll hide this lower
one here because we don't need to see it.
| | 01:09 | We'll hide - go to Search, Sound Effects and
down here I'm going to look for All Files.
| | 01:14 | I'm going to look for the word "biplane" and
look right there it's airplane/biplane start.
| | 01:19 | What a coincidence this is.
| | 01:22 | So the first thing I could do is I could just
spot this to the playhead so I'll put the playhead
| | 01:27 | at some arbitrary spot just to get it up into the Timeline.
| | 01:31 | But what I'd like to do is I'd like to
have the sounds start at a specific spot.
| | 01:36 | I want to have it start a little bit later
and we'll put a little bit of a fade on it.
| | 01:40 | We've already learned how to do that by grabbing the beginning.
| | 01:43 | And if we do Shift C the sound of the biplane is
way, way, way too long so we just tailor it to fit.
| | 01:49 | But how do we spot it?
| | 01:50 | Well, let's type the letter "V," as in "Victor."
| | 01:53 | This opens up the Multi-Point Video or the Multi-Point Viewer.
| | 01:57 | This left-hand frame indicates the start - the video at
the start of our shot, the video at the end of our shot
| | 02:04 | and let's say I want to set my mouse right there.
| | 02:08 | See those three blue lines?
| | 02:09 | The left blue line corresponds to the left picture,
the right blue line corresponds to the frame of video
| | 02:14 | under the right blue line and the middle picture
corresponds to the video under the center line.
| | 02:20 | And I can spot my video so I can make
sure that it goes exactly where I want.
| | 02:24 | I want the plane to start just after he starts talking
and we'll do a fadeout at the end by adjusting the end
| | 02:31 | so that it doesn't sound like the plane
is starting while it's already in the air.
| | 02:35 | The Multi-Point Video or the Multi-Point
Viewer because I like that better
| | 02:38 | but Apple called it something different
because they didn't ask me.
| | 02:42 | Anyway, the Multi-Point Video makes it really easy for us to spot
| | 02:46 | in our sound effects both the beginning,
the middle and where our mouse clicks.
| | 02:49 | Now when we play this let's take a look at what it looks like.
| | 02:59 | Good. Now we have the sputtering sound of a biplane taking off in
the background which justifies the fact that they're flying now
| | 03:07 | and we can work with the Multi-Point Video or
the Multi-Point Viewer to make that happen.
| | 03:12 | Clearly we've got to play with the
mix and the mix is still coming.
| | 03:14 | There's still more to talk about.
| | 03:16 | We're not quite at the end of this training yet
but I wanted to show you that one technique.
| | 03:20 | Now here's another technique we can use.
| | 03:22 | Let's go up to File, New, Audio File.
| | 03:26 | We're going to create a new one, go to our Search
tab and look for an effect called Hard Rain.
| | 03:32 | Here we go and we're going to load it
up into - we'll just double click it.
| | 03:36 | Just double clicking an effect by definition
automatically loads it up into an audio file project.
| | 03:41 | Hide the left pane, Shift Z to get it to fill out,
hide the bottom pane and now we've got our Hard Rain.
| | 03:48 | Well, what's a rainstorm without some thunder and lightening?
| | 03:56 | Now, we've got a couple of choices here.
| | 03:58 | We could do a multi-track effect, put the rain on Channel 1,
put the thunder on Channel 2, but sometimes you want to try
| | 04:05 | to minimize the number of channels you're
working with because it just becomes unwieldy,
| | 04:09 | especially if you're building a composite effect.
| | 04:12 | Well, there's a new feature that we've got called
Paste Mix and I'll show you how that works.
| | 04:16 | Let's look for some thunder, rain/heavy
thunder, thunder and lightning.
| | 04:21 | Whoa, back off.
| | 04:24 | Yes. Okay, now here's what we're going to do.
| | 04:26 | We're going to double click thunder and lightening
and now we've got hard rain on one audio project,
| | 04:31 | thunder and lightning in another audio project.
| | 04:33 | Notice there's our thunder right there and we're going to select
not quite to the end because I don't need that long a tail.
| | 04:40 | And we'll copy that to the clipboard by going to Edit, Copy.
| | 04:44 | I actually did Command C just because I've done this before.
| | 04:48 | Now we've copied this.
| | 04:50 | Let's go to hard rain.
| | 04:51 | Where do we want the thunder to occur?
| | 04:52 | Right there, that's where we want the thunder to occur.
| | 04:58 | Now if I were to simply paste this
Command V it sort of breaks the rain.
| | 05:04 | This doesn't sound good, listen.
| | 05:10 | Right. Pretty bogus.
| | 05:13 | That would be considered a really bad edit.
| | 05:15 | What we want to do is we want to mix them together.
| | 05:17 | To do that we go to Edit, Paste Special, Paste Mix and we're
able to specify the level we want that audio pasted in.
| | 05:26 | Well, I've experimented with this a little bit and we're going
to set it to 82 percent and we'll eave everything the same.
| | 05:31 | And I don't want to cross fade the in, I want that
to be hard, but I do want to cross fade the out.
| | 05:36 | We'll set it to a nice 20 millisecond fade out.
| | 05:39 | Now watch the wav form of 2:1 woof.
| | 05:43 | There we've added the thunder, and listen to it.
| | 05:49 | See how we were able to retain the rain sound and yet
paste the thunder exactly where we wanted it to go.
| | 05:59 | This is a very cool way of being able
to layer effects into a single effect.
| | 06:05 | See, I've only got a single audio clip here.
| | 06:07 | I don't have multiple tracks and worst comes to worst if
you decide that you don't like it, go to the Options menu
| | 06:13 | and you can always turn off the Paste Mix and
hear it before or after or change the order.
| | 06:19 | In other words, you can build this and if you decide
you don't like it you still have the full ability
| | 06:23 | to change your mind and delete stuff you don't like.
| | 06:26 | Everything that we've learned about Soundtrack still
works so there's nothing we have to forget but effects
| | 06:32 | like music give us additional capabilities that I
wanted to point out before we shift to the next section
| | 06:38 | which is the reason we're using Soundtrack
in the first place which is mixing.
| | 06:42 | And we'll spend some time learning how
to make our projects sound great next.
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17. Mixing AudioPrincipal mixing overview| 00:00 | This chapter talks about mixing and mixing is the
process of combining multiple audio clips so that those
| | 00:06 | which are the most important are the most audible,
those which are less important are less audible
| | 00:11 | and those which you don't want just disappear entirely.
| | 00:14 | Checker boarding your audio is the process
of organizing your clips so similar audio is
| | 00:19 | on the same track thereby making it easier to mix.
| | 00:22 | And setting levels is the process of
adjusting volume settings for each track.
| | 00:27 | Checker boarding is the process of putting
similar audio on the same track in Final Cut
| | 00:32 | which then simplifies mixing in Soundtrack Pro.
| | 00:34 | In Final Cut all of our audio is clip based.
| | 00:38 | Levels are set, keyframes are set,
filters are set on a clip by clip basis.
| | 00:42 | In Soundtrack mixing is track based; therefore you want to
put similar audio on the same track which makes mixing easier.
| | 00:49 | And here's a sample checkerboard that I've come up with that
works fine for me that you can use for your own projects.
| | 00:54 | In Final Cut on Track A1 I have the synchronized
sound from our talking head which is on V1,
| | 00:59 | in other words Channel 1 goes on A1 and Channel 2 goes on A2.
| | 01:03 | This is the default setting for Final
Cut, V1, A1, A2 all work together.
| | 01:09 | On A3 and 4 this is the nature sound from our b-roll.
| | 01:12 | Again, the b-roll picture is on V2, the
audio from the b-roll is on A3 and 4.
| | 01:18 | The narrator is always a mono mic and I put the narrator on A5.
| | 01:21 | It could go anywhere, I put them on A5.
| | 01:24 | I reserve three tracks for sound effects, A6, A7 and A8.
| | 01:28 | If you need more you can use more but generally for the stuff
that I do, which is not effects heavy three tracks is fine.
| | 01:34 | Then I put my first music cue on A9 and 10 and my second music
cue on A11 and 12 because I can't slowly fade out one piece
| | 01:42 | of music while rapidly fading in a
second piece of music on the same track.
| | 01:47 | If I want my transitions to be at different
speeds I need to put them on different tracks.
| | 01:51 | Seeing as I have to store my audio somewhere this helps
me figure out where I should put it to make it easy
| | 01:56 | to do mixing inside Final Cut if it's
really, really simple or inside Soundtrack
| | 02:01 | if it's even modestly complex or a major project.
| | 02:04 | But in all cases I always checkerboard my sound and if I'm
going to send my audio to a sound engineer it'll save them a lot
| | 02:11 | of time because the very first thing they're
going to do is checkerboard it anyway so you might
| | 02:15 | as well save yourself some time and money and
put stuff in the right spot to begin with.
| | 02:19 | Setting levels is the process of determining
how loud or soft a clip should be.
| | 02:24 | The problem is a clip can be too loud.
| | 02:26 | Digital audio distorts when its volume
exceeds 0 db indicated by that 0 marker
| | 02:32 | and the different ways we have of metering inside Soundtrack.
| | 02:35 | Distortion is indicated by red lights in
the VU, that is to say the Volume Meters,
| | 02:39 | and we see three examples over there on the right-hand side.
| | 02:42 | Once our audio was laid to tape or exported to a file, distorted
audio cannot be repaired by any technology on the planet.
| | 02:51 | It is permanently damaged and it cannot be repaired.
| | 02:55 | Distorted audio is the mark of a poor editor which can
have significant implications for ongoing employment.
| | 03:02 | So I encourage you strongly, if working in this
industry for a long period of time is important to you,
| | 03:08 | you pay attention to the audio meters and make sure those red
clip lights never light, not once, not gleam, glow, flash,
| | 03:16 | flicker, illuminate, change in any way, shape or form.
| | 03:19 | Let them stay dark.
| | 03:21 | Everyone, including your ears will be happier.
| | 03:24 | Now that we understand that our audio cannot
exceed 0 what levels should we mix to?
| | 03:29 | Well, there's many different ways to mix projects
depending upon what kind of a project it is.
| | 03:33 | The key to remember is that your audio must not exceed 0 db and
sometimes you're given specific audio specs to mix to and if so,
| | 03:41 | follow those but most of the time you won't, in which
case use my levels because they're going to work fine.
| | 03:48 | First we need to keep in mind that our
audio must not exceed 0 db and second,
| | 03:53 | the more audio clips we have the louder the total audio.
| | 03:56 | One clip tends to be quieter than
lots of clips all combined together.
| | 04:01 | Consequently we're always paying
attention to the loudest our audio can be.
| | 04:05 | Softness nobody cares about, that aesthetic.
| | 04:08 | Loudness, however, that starts to have technical
implications and we must, must not exceed 0.
| | 04:13 | Because multiple clips combine to form a mix the key level
that we're worried about is what's the level of our main mix
| | 04:21 | and here I recommend that you put your main mix
so the peak, that is to say the loudest portion
| | 04:25 | of the mix flutters between minus 3 and minus 6 db.
| | 04:29 | To help achieve that level I rough in my
audio based upon the following criteria,
| | 04:35 | if there are principal speaker I'll get their
volume to be between minus 6 and minus 12.
| | 04:39 | If there are background sounds I'll be between minus 12 and
minus 18 and then if it's an underscore or music that's playing
| | 04:46 | in the background I'll have that be around minus 18.
| | 04:49 | Once I've got those levels roughed in, I'll use my good common
sense, my good speakers and my good ears and I'll figure
| | 04:55 | out what makes it sound right because really
the final judge is how it sounds to your ears,
| | 05:00 | not the numbers, as long as your levels don't exceed 0.
| | 05:03 | Now that we understand what checker boarding and setting levels
is all about let's talk about what this chapter's going to cover.
| | 05:09 | In this chapter we'll talk about mixing on
the Timeline, how to set levels and panning.
| | 05:14 | I'll introduce a new feature inside Soundtrack Pro
2 called the Sound Palette HUD or heads-up display.
| | 05:19 | I'll introduce the Track tab and the Mixer tab
and show you how to use them both for mixing.
| | 05:24 | We'll talk about envelopes, keyframes and automation.
| | 05:26 | We'll spend some time with surround sound and busses and
submixes and we'll wrap up by looking at some key filters.
| | 05:33 | There's a ton to cover and we'll get started
first by mixing a project in the Timeline.
| | 05:38 | That is next.
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| Mixing on the Timeline| 00:00 | At its most basic mixing is simply adjusting the volume levels
of all of your different clips so you can hear what you want
| | 00:06 | to hear and don't hear what you don't want to hear.
| | 00:08 | Now we can get more complex than that but sometimes that's
all we need to know is just adjusting the volume levels.
| | 00:14 | There's several different ways that we can mix but the
easiest, at least for me, is mixing inside the Timeline.
| | 00:20 | For instance here I've loaded an exercise called 0_2_Nazarian
which is the conversation between Bruce Nazarian and myself.
| | 00:26 | I'm on Track 1, Bruce is on Track 2.
| | 00:28 | Now, let's take a look at what our mixing environment is like.
| | 00:31 | Each track contains clips specific to - in
this case me on Track 1 or Bruce on Track 2.
| | 00:37 | We've already started a basic checkerboarding
by having all the same clip on the same track.
| | 00:43 | In the track header on the left we have a name which we
can change just by clicking on it and typing the name.
| | 00:48 | We have an icon that indicates that it's a sound
file and we've already seen through the interface
| | 00:53 | that we can change colors and all the rest of it.
| | 00:55 | That's what we covered earlier as we were looking
at the interface to the multi-track environment.
| | 01:00 | We also have controls.
| | 01:01 | This allows us to adjust the volume of a clip.
| | 01:04 | For instance, I'll mute Bruce just for a moment and adjust me.
| | 01:07 | (Larry on tape: Bruce Nazarian is the president
of the DVD Association as well as being...)
| | 01:11 | As we slide the sound to the left it gets quieter,
as we slide it to the right it gets louder.
| | 01:15 | (Larry on tape: Bruce, thanks for joining us today.
| | 01:17 | Bruce...) Now, I've done this big harangue about why we
need to watch our audio levels over here in the meters
| | 01:24 | and notice that we've got a level of 0 and our
levels must not exceed 0 or they'll distort.
| | 01:31 | But notice what's happening as I move this slider back and forth.
| | 01:35 | Right in the middle my levels equals 0 and
then in fact I can drag them higher than 0.
| | 01:42 | What is going on?
| | 01:44 | And the answer is there's two different 0's in audio.
| | 01:48 | There's the volume slider 0 and the volume meter 0.
| | 01:52 | The volume meter, called the VU meter or just
meters, is the absolutely loudness of your sound
| | 01:58 | and this must not exceed 0 or it will distort.
| | 02:01 | This slider is the relative measure of your sound.
| | 02:06 | Zero which is represented by this heavier black line
here, 0 is the level at which your sound was recorded.
| | 02:13 | Now you could have recoded it soft or you could
have recorded it loud but 0 means that it plays back
| | 02:18 | at exactly the same level at which you recorded it.
| | 02:21 | This means that if I want to make it softer I move the
slider to the left, I am decreasing it from the level
| | 02:26 | at which it was recorded or now if I want
to make it louder I move it to the right.
| | 02:30 | I am increasing it compared to the
level at which it was recorded.
| | 02:34 | That's why this number can go over 0
because I'm adjusting the relative volume
| | 02:39 | of the clip and measuring it absolutely on the VU meter.
| | 02:44 | Now there's additional information on then track header.
| | 02:48 | This allows us to control the output of where this
channel goes so we're talking about this when we talk
| | 02:53 | about submixes a little later in this mixing chapter.
| | 02:56 | And if I change the track height to one of the two larger tracks
we also have the ability to specify what our inputs are going
| | 03:03 | to be, whether it's mono or stereo and
what our channel assignment's going to be.
| | 03:07 | This is a duplication of the same information
that's available to us in the Recording tab.
| | 03:12 | So I can adjust this on a track by
track basis or I can adjust it up here.
| | 03:17 | Two different ways to do exactly the same thing but these
only show up when I'm in the two widest interface displays.
| | 03:25 | When we're doing our mix, if you're mixing for broadcast
or cablecast or DVD one of the things that you want
| | 03:32 | to be very careful of is don't pan your subject
all the way over to one side or the other.
| | 03:36 | For instance, let me give an example, here in this
booth I'm using only one channel to record on.
| | 03:42 | So if I were to take my pan and pan it
all the way to the right, I hear me.
| | 03:47 | But if I pan it to the left, I don't.
| | 03:50 | And this is necessary for the way that we're recording all
the different audio channels that are flowing around here.
| | 03:55 | Well, imagine if you will that you've put your main speaker on
the left-hand channel and imagine further that the person at home
| | 04:00 | that wants to watch it their parakeet
has nested in the left-hand speaker.
| | 04:03 | We can't hear the person talking.
| | 04:05 | Or the dog had chewed through the right speaker
or goodness knows what's happened to the TV set.
| | 04:10 | I have taught at schools where I've only got one working speaker.
| | 04:13 | If you're doing any kind of mixing for the broad market where
you don't control the playback environment you don't ever want
| | 04:20 | to take your audio all the way to the left or all the way to
the right, you've got no guarantee anybody's going to hear it.
| | 04:24 | If, on the other hand, you're mixing for theatrical release or a
corporate presentation where you can control the audio playback
| | 04:30 | or you're mixing for music which is
going to be listened to on headsets,
| | 04:33 | then we can take full advantage of panning stuff left and right.
| | 04:36 | That's why this is a sliding scale.
| | 04:39 | This means the sound is coming all the way out of
the left-hand speaker as a setting of negative 100.
| | 04:44 | In the center it's coming equally out
of both the left and right speakers
| | 04:48 | and moved to the right it's coming out of the right-hand speaker.
| | 04:51 | Anywhere in between the audio will lean to the left or lean
to the right but I still get sounds coming out both speakers
| | 05:00 | which means that if one of the speakers is
non-function I can still hear what's going on.
| | 05:04 | Here's a neat keyboard shortcut by the way, if you double
click either of these sliders they automatically reset
| | 05:11 | to their default position, 0 means no change to
the playback audio and center means the same amount
| | 05:17 | of volume comes out the left and the right speaker.
| | 05:19 | There's one more thing, Soundtrack makes it
easy to find where your audio is too loud.
| | 05:24 | If I boost this up a little bit and hit
the spacebar to play it (Larry on tape:
| | 05:27 | Bruce Nazarian is the president of the
DVD Association as well as being...)
| | 05:31 | And notice that it says that I'm 3 db over
0, positive numbers are bad, 12 frames in.
| | 05:39 | So if I double click this 12 frame number it
takes me immediately to the value that's too hot.
| | 05:45 | I hit the Reset button and go a little
bit farther forward and play it.
| | 05:47 | (Larry on tape: ...as well as being a guru...)
| | 05:49 | Well, it says the loudest my clip gets is
2 db over 0 at 3 seconds and 19 frames in.
| | 05:55 | If I double click it, it takes me to the
offending area and I can pull my volume down.
| | 05:59 | (Larry on tape: ...as well as being...)
| | 06:00 | So not only does this show me on an instant-by-instant
basis the volume of the left-hand channel and the volume
| | 06:07 | of the right-hand channel represented
by the left and the right bars,
| | 06:10 | it also shows me the loudest my audio
gets and where in my sequence this is.
| | 06:15 | This can be a really useful function if you're trying
to diagnose an audio problem and you can't figure
| | 06:19 | out where it is because the meters are bouncing too much.
| | 06:22 | It makes it easy to see where they are.
| | 06:23 | The benefit to Timeline mixing is it's simple, it's
straightforward, we're in the Timeline as we're building this,
| | 06:29 | we can adjust levels while we're here, we can adjust
panning while we're here and we can monitor our meters
| | 06:34 | to see exactly how our audio levels are doing and if
we've got any hotspots and where those hotspots are.
| | 06:39 | But there's two other ways that we can mix
inside Soundtrack and the one that I want
| | 06:43 | to show you next is a new feature inside Soundtrack
Pro 2 and it's the Tracks tab, and that's next.
| | Collapse this transcript |
| Using the Tracks tab| 00:00 | I've opened up a new exercise called
0_8_tazrestaurantmix and I've added a couple things.
| | 00:05 | The first is from our effects section I
added some traffic noise at the beginning,
| | 00:09 | I added a music clip to add a sense of
ambience to the clip on the bottom track.
| | 00:13 | We've already seen how we can use the track header and
the Timeline to do basic mixing in terms of volume control
| | 00:19 | and panning but there's a new tab on the left-hand pane called
the Tracks tab that I want to spend a little bit of time talking
| | 00:25 | about because this gives us access to even more functionality.
| | 00:29 | If we look at the Tracks tab we've got our slider here
and it will adjust whichever track I have selected.
| | 00:35 | So I go down to Music Background and notice it says, "Music
is here" so it lists that or NatSOT 2 by clicking on that
| | 00:43 | or Natural Sound 1 or the sound effect of traffic.
| | 00:46 | It will automatically follow whichever track you have selected.
| | 00:50 | With the track selected if I grab the fader and move it up
and down it's exactly the same as if I was moving this fader.
| | 00:56 | But because I've got these lines to indicate the levels I
can much more accurately set levels and know what I'm doing
| | 01:03 | and because the height of this is greater than the
width of this I can set my levels much more accurately.
| | 01:09 | Double-clicking still works to take it back to the
0 detent position or what would be called unity
| | 01:15 | on some boards and I can grab and slide this up and down.
| | 01:19 | By the way, if you had a control panel connected the control
panel would slide this as well as the faders inside the mixer.
| | 01:26 | Here I'm working with a single track at a time.
| | 01:29 | Immediately above it is a measure of the
loudest my sound gets as I play this.
| | 01:34 | This is showing us the level not of the entire mix,
it's showing us the level just of this one track.
| | 01:43 | (Audio plays: ...owned by our family.
| | 01:44 | A lot of my customers have been wondering
what a traditional Tandoori oven looks
| | 01:48 | like so let's go to the kitchen and find out.)
| | 01:54 | Lots of music, and in fact, when my music got too loud notice
how this suddenly lit up and shows me how many db over it is.
| | 02:00 | In this case it's 1 db too loud.
| | 02:02 | To reset it just click on the red light and we'll hit spacebar.
| | 02:13 | (Music plays.)
| | 02:13 | Okay, good.
| | 02:13 | So now I've got my music set into a nice background level
and this is showing us exactly the level it's set at
| | 02:20 | and I can also move this by clicking the left and right arrows.
| | 02:23 | When in doubt, there's multiple ways to achieve the same thing
but using the mouse and the slider for me works really well
| | 02:30 | because I get to listen to it and I've got an infinite
amount of room to move and make it sound the way I want.
| | 02:35 | There's our pan control, it used to be
over here, on the tracks it's up here.
| | 02:40 | And it shows us how much we're panning
to the left or to the right.
| | 02:44 | We still have our solo on mute, our
record arm and bypass effects.
| | 02:48 | We'll be talking about this button when
we get to the effects section on filters.
| | 02:51 | But this top section is new.
| | 02:53 | This is where we're able to set up sims and work with busses.
| | 02:57 | And again, we'll talk about that when we sims
and busses coming up in just a little bit.
| | 03:01 | Over here on the left I'm able to select the track.
| | 03:04 | (Audio plays: OK.
| | 03:06 | We are going to create a great Tandoori dish by the name of...)
| | 03:09 | listen to, it automatically loads the
controls for that track into the Track tab.
| | 03:14 | (Audio plays: Welcome to the Taj
Cafe, one of over nineteen res...)
| | 03:18 | So I can set my levels and I can change my tracks
just simply by clicking on this selector over here.
| | 03:24 | This is groups.
| | 03:27 | This allows the Track tab to control a group,
| | 03:30 | either a group that's already been created
or a group that we ourselves can create.
| | 03:34 | I'll be talking about groups in the next movie when
I talk about the third way that we can mix our audio.
| | 03:39 | The first is inside the Timeline, the second is inside the Track
tab and the third is inside the mixer and the mixer is next.
| | Collapse this transcript |
| Using the Mixer| 00:00 | We can mix on the Timeline and we
can control levels in the Tracks tab.
| | 00:05 | But for the absolutely maximum in flexibility
and power we want to look at the third interface
| | 00:09 | which is built into Soundtrack which is the Mixer.
| | 00:12 | Now to access it we need to show the lower panel.
| | 00:15 | So the lower panel is showing and then we would either click the
Mixer button or we could go up to Window, Layouts, Separate Mixer
| | 00:22 | and Video, depending upon how much room you have.
| | 00:25 | If you have a two monitor displays, Separate
Mixer and Video makes a lot of sense.
| | 00:29 | If you're limited for real estate working
in the lower panel makes more sense.
| | 00:33 | Here, just to make sure we can see what we're
doing I'll have it be a standalone separate window.
| | 00:38 | Let's close the lower panel, push this a little
bit over so we can see what's going on here.
| | 00:43 | Now, just as the Tracks tab works
vertically, so the Mixer works vertically.
| | 00:49 | The Tracks tab and the Mixer have exactly the same layout.
| | 00:52 | So we see our volume slider here,
we can see how much we're increasing
| | 00:56 | or decreasing the volume from this readout here at the bottom.
| | 00:59 | To get it to 0 again, double click.
| | 01:02 | This shows us if our audio is too hot or too low, this shows
us the maximum level of our audio so we have a numeric readout.
| | 01:09 | Again, we've got solo, mute, record arm and bypass effects.
| | 01:12 | Our pan control exactly the same as the Track tab and
we've got sims and busses we'll be talking about those.
| | 01:19 | We have the ability to specify the name up here and we've got
all of our color coding so we can identify tracks in the same way
| | 01:26 | that we identify tracks here with these little color bars.
| | 01:30 | As we play our clip though, let's hit
the Home key and hit the Spacebar.
| | 01:36 | Already we can see we've got a problem.
| | 01:42 | This is our talking head where we're doing wild narration because
we had to rerecord it because the traffic noise was too great
| | 01:48 | and it's already gone 1 db too hot
so we've got to pull that down.
| | 01:52 | So we'll pull it down here or we could pull it down by
clicking in this box here or we could simply type the value.
| | 01:59 | I'm going to type in minus 4, let's make it minus 1.
| | 02:03 | The reasons why will be obvious in a second.
| | 02:05 | So we play this.
| | 02:06 | So let's hit the Home key.
| | 02:08 | I just had to click over here to
select the Timeline, hit Spacebar.
| | 02:17 | No, Return, there we go.
| | 02:21 | Okay, now this shows that our maximum level is 0 so we're
not distorting but we're distorting all the way over here.
| | 02:28 | This is our final output, the fartherest right
and it's too hot but it's not too hot over here.
| | 02:34 | The reason is audio is additive.
| | 02:36 | In other words I've got the gain of this clip plus the gain
of all the other clips all added together, it's too much.
| | 02:43 | My audio is too hot.
| | 02:44 | So it's not that you don't want to have each individual track
not have a red light, if you can handle that double negative,
| | 02:50 | you can't have any red lights anywhere for any reason.
| | 02:53 | To reset it, click the red light and now
we're going to pull this down even further.
| | 02:57 | This is why I went to negative 4 earlier.
| | 02:59 | I sort of cheated; I knew what the number needed to be.
| | 03:02 | And now when I play this select the
Timeline, hit the Return key, Spacebar.
| | 03:08 | Okay, so now we get to adjust each of these
individual tracks until it starts to sound appropriate.
| | 03:18 | So we'll pull our music down just a bit, it's a little
bit too hot and again, hit the Return key, Spacebar.
| | 03:27 | Oh, now we've got to adjust this first one.
| | 03:34 | So you start to see how the mixer works in that we're able
to see all of our track levels laid out in front of us
| | 03:40 | and we can start to see where we need to make changes.
| | 03:42 | The red lights indicate where we're stuff is too hot.
| | 03:44 | So not only do we have the ascetic
decision of how do we want it to sound,
| | 03:48 | we have the technical decision of
making sure nothing gets distorted.
| | 03:51 | Well, there's a couple of other benefits the mixer provides.
| | 03:54 | For instance, here I have my host talking
wild and I've got my host in sync.
| | 03:58 | It's really the same person, really on the
same mic, just in two different recordings.
| | 04:02 | It'd be nice if I could sort of gang those together, and we can.
| | 04:05 | I'll show you how.
| | 04:07 | Hold the Shift key down and I can select
both those tracks at the same time.
| | 04:11 | Now I can grab both at the same time and drag them down or
let's say here I've got my traffic and my natural sound,
| | 04:20 | I could have all three of those tracks,
even though they're not at the same level,
| | 04:24 | I can still run them as though they were all
together and they'll slide proportionately.
| | 04:28 | Or if I hold the Command key down I
could select any combination of tracks.
| | 04:33 | And with the Command key held down I can
change and move all those clips simultaneously.
| | 04:38 | So you don't have to move just one track.
| | 04:40 | You can move multiple by clicking, Shift clicking or Command
clicking to select whatever tracks you want to control.
| | 04:46 | Well, while that's cool sometimes it's necessary that
you want to have those groups stay around a little longer
| | 04:52 | and we can group our tracks by holding the Shift key,
or Command key, selecting the tracks that we want.
| | 04:58 | And with the tracks selected go up to Multi-Track.
| | 05:01 | First we have to enable Groups, so we turn that on
and what that does is it says groups can now exist.
| | 05:08 | Then, once I've got them enabled I can group tracks
by saying, Group Tracks, under the Multi-Track menu.
| | 05:15 | And notice over here in the Track tab my new group is listed.
| | 05:20 | So I can twirl this down and I see the tracks
that constitute the group and if I double click
| | 05:25 | on the group name I can say, "Talking Head Audio."
| | 05:30 | So this is my Talking Head group.
| | 05:32 | Because they're grouped, as I slide the sliders
up and down they all move at the same time.
| | 05:39 | If I click on one it's the same as if I click on both.
| | 05:42 | What this allows me to do is to move any combination
of tracks as though it was a single fader.
| | 05:48 | Here, for instance, I should have a group for my natural sound.
| | 05:52 | Hold the Shift key down, select both,
Command G to create a new group, there it is.
| | 05:57 | We'll call it Nat Sou for Natural Sound;
twirling it down it sees who's there.
| | 06:02 | So now I've got my Talking Head on the same
slider and my Natural Sound on the same slider.
| | 06:08 | This makes it easy to be able to make
adjustments to more than one track at one time.
| | 06:12 | And if I had a control surface I'd be able to
move all of the faders on my control surface
| | 06:17 | and have them automatically move the faders
here so that I'm working my control surface
| | 06:21 | with multiple fingers and adjusting everything all at one time.
| | 06:24 | Control surfaces, if you do a lot of mixing, can speed up the
whole process because you're not doing one thing at a time
| | 06:30 | with the mouse, you're doing multiple
things at a time with your fingers.
| | 06:33 | So now that we've got a sense of simple mixes inside the
Timeline, the Track tab gives us access to more controls
| | 06:40 | but on a track-by-track basis, and the
mixer gives us access to the maximum number
| | 06:44 | of controls, it just sort of takes over the screen.
| | 06:46 | Surely there's got to be some more
here and the answer is, there is.
| | 06:50 | Because what happens if I want the
levels to change during playback?
| | 06:54 | Well, the same thing happens if you want something to change
during playback in Final Cut, you've got to create keyframes
| | 06:59 | and that's exactly how we do our
audio mixes, we create keyframes.
| | 07:03 | And we'll talk about keyframes and envelops and automation next.
| | Collapse this transcript |
| Envelopes and automation overview| 00:00 | The brutal power of Soundtrack Pro lies in it automation,
in the ability to listen and set levels one time
| | 00:07 | and have them play back and change during playback.
| | 00:10 | That's done with a process called Envelopes.
| | 00:12 | In Final Cut a keyframe is a point of change during playback.
| | 00:16 | In Soundtrack keyframes are called envelope points.
| | 00:19 | And Envelope contains keyframes or these envelope points.
| | 00:23 | An automation is the process of creating keyframes in real time
during playback or playing back those keyframes during playback
| | 00:31 | so you can adjust your levels in real
time from one setting to the next.
| | 00:35 | The envelopes in Soundtrack allow much greater
precision than simple keyframes in Final Cut.
| | 00:40 | Envelopes can be selected, nudged, moved and deleted.
| | 00:43 | They can even be changed using the Details tab.
| | 00:45 | We're going to talk about envelopes in two movies.
| | 00:48 | The next movie we'll talk about what an envelope is and the
movie after that we'll talk about how to record envelopes.
| | 00:54 | Let's start by taking a look at what an envelope is.
| | Collapse this transcript |
| What are envelopes?| 00:00 | I've opened up Exercise 0_1_Tazrestaurant because if
you remember this is exactly what we sent from Final Cut
| | 00:06 | and you look around, you say, "There's no envelopes there."
| | 00:10 | Well, the envelopes are actually skulking in the
background and let me show you where they're hiding.
| | 00:15 | See this little triangle thing here, if you click
the triangle it reveals the purple envelope lines
| | 00:20 | and for a stereo clip there are two default
envelopes, one for volume and one for pan.
| | 00:26 | See those diamonds in there?
| | 00:27 | Each one of those diamonds is an envelope point, what Final Cut
calls keyframes and what I will probably be calling keyframes
| | 00:33 | because they should be called keyframes, it's
just that audio people call them envelope points.
| | 00:38 | And again, audio people like running levels at 0.
| | 00:41 | Everybody has their own sense of humor.
| | 00:43 | When Final Cut sends a file all of the levels, all of
the pan controls are automatically enveloped, keyframed,
| | 00:50 | do that when they come into Soundtrack they have
the exact same levels that you set inside Final Cut.
| | 00:55 | If you are unaware of that fact, setting keyframes is going to
drive you nuts because the keyframe keeps wanting to reset back
| | 01:02 | to the keyframe that was set inside Final Cut.
| | 01:04 | So the very first thing that I do whenever I get a file in from
Final Cut is I will twirl down the triangle, I'll click hold
| | 01:12 | and drag with my mouse and this is
something we could never do in Final Cut.
| | 01:16 | We've now selected all those keyframes.
| | 01:20 | And we hit the Delete key and poof, they're gone.
| | 01:22 | There's always one envelope point, at again, remember they're
called keyframes in Final Cut, envelope points inside Soundtrack,
| | 01:28 | there's always one envelope point at the
beginning of a clip and that's perfectly normal.
| | 01:32 | You can't get rid of it, don't worry about it.
| | 01:34 | Everything else can be moved or changed.
| | 01:35 | For instance here I could click hold and
drag and I could move that around vertically
| | 01:40 | to change levels or horizontally to change timing.
| | 01:44 | I can drag a rectangle around this to
highlight the clips and hit the Delete key
| | 01:48 | or I could select a group and move all three of them as a group.
| | 01:51 | I can double click on this line, create an envelope.
| | 01:58 | I can click here, hold this Shift key
down and click everything in between it.
| | 02:04 | I can hold the Command key down and I can do a disk
continuous selection on every envelope I care to click on.
| | 02:11 | In other words, just as you have this same selection
ability for clips, we've got the same selection ability
| | 02:16 | for keyframes, envelope points, stupid phrase.
| | 02:21 | Anyway, whatever they're called you can get rid of them, you
can move them and you can display them and you can select them.
| | 02:28 | So far, very cool.
| | 02:29 | Notice when we twirl down there's an
envelope for every one of the tracks
| | 02:34 | and we've got envelopes for the master track and submixes.
| | 02:37 | In other words, anything that can change has an envelope and as
you'll see when we talk about filters, we can even add automation
| | 02:43 | for the filters so we're not just limited to volume and
pan, we can add an almost unlimited assortment of envelopes
| | 02:49 | for complete automation control depending
upon what kind of project we're working with.
| | 02:53 | If you want to see the settings for a
particular envelope go to the details tab.
| | 02:59 | And the details tab will take whatever envelope is highlighted,
notice it says "envelope point," give you the time code,
| | 03:06 | tell you whether it's drop or non-drop, tell you what the
levels setting is, what the minimum and maximum values are
| | 03:11 | and you can copy to and from points so the detail as you select
| | 03:15 | on different points will change depending
upon - just pull that down, pull this over.
| | 03:21 | See, we change this, the Detail tab changes with it.
| | 03:25 | We make changes happen during playback by recording automation
envelope points which are then played back by Soundtrack
| | 03:33 | and anything which has a setting can be keyframed.
| | 03:36 | The question is how?
| | 03:37 | And that's what I want to talk about next.
| | Collapse this transcript |
| Recording envelopes| 00:00 | As you've already seen, envelopes can be set manually by double
clicking the envelope line and moving them with your mouse.
| | 00:06 | Envelopes can also be recorded automatically during
playback and you have control over envelope thinning
| | 00:12 | and preferences and I'll show that do you in just a minute.
| | 00:14 | There are three automation modes, Read, which is play only,
it doesn't record animation, Latch, which records animation
| | 00:22 | and when recording stops it changes all downstream values to
the last recorded setting and Touch, which records keyframes
| | 00:30 | but when recording stops all downstream values are untouched.
| | 00:34 | My recommendation is as you're getting used to this when you want
| | 00:37 | to record keyframes use Touch and when
you're ready to playback use Read.
| | 00:41 | I'm not saying Latch doesn't work but
unless you're comfortable with the idea
| | 00:45 | of changing all the downstream values Latch
can sometimes give you some unexpected results.
| | 00:50 | So let's show you how we work with envelopes.
| | 00:53 | For instance, here I've opened a project to 08_Tazrestaurantmix.
| | 00:57 | I've gone through and deleted all the
keyframes so we have no animation recorded.
| | 01:01 | Now what we've done at the beginning of this traffic is
that we've added a fade-in which is simply a faster way
| | 01:06 | of providing animation because it's going to
start with the audio out and fade the audio in.
| | 01:11 | We could do the same thing with keyframes
and we'll do the same thing manually.
| | 01:14 | I'm going to just delete that fade-in, I'm going to
double click where I want the animation to end and drag it
| | 01:19 | to the level that I want it to be dragged to.
| | 01:21 | For instance here if I want it to start in
black and I want it to end up at say 9 db notice
| | 01:27 | that I've automatically got a nice fade-in on my sound.
| | 01:31 | Okay, it fades in.
| | 01:35 | I created the animation by doubling clicking on the line and
I adjusted the level by grabbing the keyframe, dragging it up
| | 01:41 | and down and if I decided that I don't want that piece
of animation just highlight it, hit the Delete key.
| | 01:48 | The same way that we can inside Final
Cut, we can add keyframes here.
| | 01:51 | But adding keyframes manually can be a life
altering experience and it's not particularly fun.
| | 01:56 | So we're going to just select that keyframe
and reset our level back to where it was
| | 02:01 | and do an entirely different process
and record our keyframes automatically.
| | 02:05 | Before I do though, I should digress on one point.
| | 02:08 | Notice that I'm able to put my keyframes wherever
I want and I'm able to drag them wherever I want.
| | 02:13 | Well, just as we have the ability to
automatically align clips we also have the ability
| | 02:17 | to automatically align keyframes when snapping is turned on.
| | 02:21 | If I go up and turn on snapping now when I drag my keyframes
they automatically snap to either the position of the playhead
| | 02:31 | or these vertical lines which represent
the measures of the music.
| | 02:34 | Remember we're keying track of measures and beats over
here with beats even though we've got timecodes set.
| | 02:40 | If you need to change what it snaps to,
go down to this low right cone like image
| | 02:45 | and change it from rule ticks to snapping to seconds.
| | 02:48 | So now our keyframes are snapping to the
second or we can have it snap to a frame.
| | 02:53 | And now as we drag it'll snap to individual frames.
| | 02:56 | So snapping is controlled from this menu down here but
keyframes will respond to snapping exactly the same
| | 03:03 | as clips do whenever snapping is turned on either from this menu
| | 03:07 | or from the letter N. Now let's turn off
snapping and let's delete these two keyframes.
| | 03:13 | How do we create keyframes automatically?
| | 03:15 | Well, we can do it from the mixer, we can do it
from the Timeline or we can do it from the track.
| | 03:20 | I'm going to do it from the track just because I
haven't done that for a while and we'll practice that.
| | 03:24 | Keyframes are turned on from this popup menu
at the top where it says Read, Latch or Touch.
| | 03:30 | Read is play only, Latch and Touch are record.
| | 03:33 | Now they only record keyframes if
you change something during playback.
| | 03:37 | If you keep your hands off the mouse and hands off
the keyboard you won't lay in any new keyframes.
| | 03:41 | But these are both designed for recording.
| | 03:43 | We're going to set it to Touch, hit the Return key so our
playhead is positioned and I'm going to be adjusting the volume
| | 03:49 | so I want it to start out, Spacebar,
fill it up and see what it just did?
| | 03:54 | It created a ramp that paralleled what my hand was
doing with the mouse moving this fader up and down.
| | 04:00 | And as it did it laid off a trail of keyframes.
| | 04:03 | Actually, it put a keyframe for every frame.
| | 04:06 | That's like way too many keyframes.
| | 04:08 | How do we control exactly how many keyframes get recorded
when I'm doing this because otherwise I could end
| | 04:13 | up with just a plethora, yes, a plethora of keyframes.
| | 04:17 | The answer is we go up to Soundtrack Pro; go down to Preferences
| | 04:21 | and notice under the General tab we've
got Automation Recording Sensitivity.
| | 04:25 | If you want lots and lots and lots of keyframes
so it very precisely mimics exactly how you move
| | 04:31 | that control surface or move that mouse, set it to High.
| | 04:34 | If you want it to just keep the bare
minimum of keyframes, set it to Low.
| | 04:38 | Let me compare.
| | 04:39 | I'm going to set it to High, we're going to
grab our track thingy here, pull it down and go.
| | 04:48 | Okay? Notice how we've got a keyframe on virtually every frame.
| | 04:52 | Let's just delete these so we've got some room to work,
put our playhead back here and set the preferences to Low
| | 05:00 | and now we'll do the exact same thing,
turn it off, hit the Play button.
| | 05:10 | And see how it's thinned them out?
| | 05:12 | This gives us a very accurate representation
of how we move the mouse.
| | 05:16 | This just gives us an approximate but the nice thing is
there's many fewer keyframes, it makes them easier to edit.
| | 05:22 | And frankly we're tweaking something which is quite
low level; you may not need this level of precision.
| | 05:28 | The choice is entirely up to you.
| | 05:29 | You can control that totally on your own.
| | 05:32 | It's nice to know that Soundtrack gives you the ability to
specify what level of detail you want in your keyframes.
| | 05:38 | I'm going to select them, hit the Delete key, set this back to
around where it was and go back and reset our preferences so it's
| | 05:47 | down a little bit on the lower side and click Okay.
| | 05:51 | I was all set to do this great emotional close and I realized
I should probably illustrate why I like Touch and not Latch.
| | 05:58 | So let's go grab this and play it.
| | 06:06 | Okay, so there's our keyframes.
| | 06:09 | I'm going to go back and re-do this with Touch.
| | 06:12 | Now notice our ending value here is
right around, what's the Details tab say?
| | 06:17 | Details says it's around negative 20.
| | 06:20 | Okay, cool.
| | 06:21 | Let's set it to exactly negative 20.
| | 06:24 | See how we can override the value of the
keyframe just by typing in the details tab?
| | 06:29 | Okay. So we'll go back to here and set this to
Touch, go back to our Tracks tab and play again.
| | 06:35 | Notice that when I stopped it stopped recording new keyframes,
it automatically connected back to the last recorded keyframe
| | 06:49 | and there was no change to what I had done after the fact.
| | 06:52 | Now, let's watch what happens with Latch.
| | 07:01 | See how it changes the downstream
setting until it hits the next keyframe.
| | 07:05 | So it's making a change after the fact which, for me, I like
to know that the instant I stop it stops making changes.
| | 07:13 | Latch continues on downstream.
| | 07:15 | Now that may be what you want but for me I find a
much more accurate way of working is to use Touch.
| | 07:22 | Pick your own flavor.
| | 07:23 | They both work fine.
| | 07:24 | It's just a question of whether you're getting the results
that you're expecting when you're recording your keyframes.
| | 07:29 | So for something simple like a fade-up we can
use the prebuilt fades that are in a clip.
| | 07:34 | But if we wanted to automate the playback of panning,
exactly the same, Latch is on, now I've automated panning.
| | 07:46 | So I've got my sound whipping from one side to the other.
| | 07:48 | Well, I can't do that easily by grabbing some sort of pan
transition like we've got a fade transition that's built
| | 07:54 | into the Multi-Track Editor, I have to use keyframes.
| | 07:58 | Whenever you want something to change during playback you have
| | 08:01 | to use keyframes except they're called envelope
points and that's why this says Show Envelopes.
| | 08:06 | These are all the different envelopes that we have by default.
| | 08:09 | For a stereo clip we have volume and pan but for
surround-sound we've got a whole lot more to work with.
| | 08:17 | Which reminds me, we haven't talked about Surround Sound yet.
| | 08:19 | So let's talk about Surround Sound next.
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| Working with surround sound| 00:00 | Surround Sound allows you to position your sounds in space using
six channels, left, center and right in the front, left rear,
| | 00:08 | right rear in the back and the subwoofer
which is called LFE for low-frequency effects.
| | 00:14 | There's multiple ways we have of monitoring our surround sound.
| | 00:16 | We could use a USB cable, this All-Tech Lancing does
that or PCI cards, M-Audio is an example of those
| | 00:23 | and optical connections from say Logitech or Panasonic.
| | 00:26 | As we are moving more and more into home theater
| | 00:29 | and surround sound there become multiple ways
of listening to what this audio sounds like.
| | 00:33 | The interesting thing is that Soundtrack
Pro is all surround, all the time.
| | 00:37 | Internally even if you're using mono,
it's tracking your audio in surround.
| | 00:42 | This means that I can have one track which is mono, another
track which is stereo, a third track which is surround
| | 00:48 | and have them all in the same project at the
same time and I just simply switch my output.
| | 00:53 | I want a mono output or stereo or surround.
| | 00:55 | We'll talk about outputting when
we talk about busses and submixes
| | 00:58 | but for now let me just show you
how to deal with a surround clip.
| | 01:02 | I've opened up a project called 9_surround.
| | 01:05 | Notice that we've got a standard multi-tracked output.
| | 01:07 | We've got stereo here, there's nothing that indicates that
lurking beneath the surface is an entire surround system.
| | 01:16 | Now watch very closely because we're
going to convert this to surround.
| | 01:19 | I'm going to show you how.
| | 01:21 | I've gone to the Search tab, Music
Beds because I'm in this grid here.
| | 01:25 | We'll select Rock/Blues.
| | 01:27 | I've got two channels, that means this music is stereo.
| | 01:30 | I don't want stereo, I want surround.
| | 01:32 | So I click on the channels and notice that it automatically
sorts my music six channels first, stereo second.
| | 01:38 | So let's grab this Who's Blues short.
| | 01:41 | It's a six channel surround clip and drag it up to the Timeline.
| | 01:46 | That quickly we are now in surround on Track 1.
| | 01:56 | But we're only seeing two tracks over here.
| | 01:59 | Well, if you'll notice as they say on Sesame
Street one of these things is not like the other.
| | 02:06 | Which of these panners looks different?
| | 02:08 | Why, look at that, it's Channel 1.
| | 02:10 | If you double click on the stereo
panner it opens up the surround panner
| | 02:16 | and now when we play the clip we can see there's our
left rear, called Left Surround, the front left, center,
| | 02:23 | right front and right surround or the right rear speaker.
| | 02:26 | And because this is a steel string guitar we're
not getting any low-frequency affects at all.
| | 02:32 | What do you mean you're disappointed that
you don't see any low-frequency affects?
| | 02:41 | You are so difficult.
| | 02:43 | All right, let's just look down here a little bit farther.
| | 02:46 | I will grab Moody Alternative.
| | 02:48 | Here we go.
| | 02:49 | Now watch this.
| | 02:55 | There, you feel better now?
| | 02:56 | The low-frequency effect really depends
upon how the music was mixed.
| | 03:00 | Now here's the cool part.
| | 03:02 | Let's say that I wanted to change the
panning of this so - well, let's do this.
| | 03:08 | Okay, we're going to - hush, stop.
| | 03:13 | Everybody just hold still.
| | 03:14 | Put the panner away.
| | 03:16 | We're going to look for a sound effect and I'm
going to look for a sound effect of explosions
| | 03:22 | and I want to take an explosion - oh, just stop.
| | 03:28 | So I grab the explosions, I drag it over to here.
| | 03:31 | Now we'll solo this.
| | 03:32 | I want to Control-click and say, "Set it to a surround panner."
| | 03:40 | By Control-clicking I can switch between
a stereo panner and surround panner.
| | 03:44 | Now, double clicking on the surround panner
where do I want the explosion to occur?
| | 03:49 | Let's say I want the explosion to occur out of the left speaker.
| | 03:53 | So I grab this dot in the center and
drag it where I want the explosion to be
| | 03:57 | and that quickly coming out the left speaker is the explosion.
| | 04:02 | Notice how it focuses on the left-hand side.
| | 04:05 | Or say I want the explosion to be on the right-hand
side or say I want the explosion to be behind us.
| | 04:18 | Now those of you listening on headset will
notice that the explosion is not moving.
| | 04:24 | That's because it takes six speakers to have a - trust me,
| | 04:30 | if you had six speakers the explosion would
be breathtaking and it'd be behind you.
| | 04:34 | So the way that we can change from stereo to surround
is as easy as Control-clicking on any of these panners,
| | 04:41 | switching it to a surround sound panner, then double click it to
open up and notice that it identifies exactly which track it is.
| | 04:49 | You can change - by grabbing this dot you
can change where your surround is located.
| | 04:54 | What do you mean you want to know what these control -
you know, you're just being really too pushy right now.
| | 04:58 | If we go back to our music again and - well,
let's turn off the solo here and solo the music.
| | 05:06 | What we're able to do here is this is a rotation command that
allows us to rotate where the speakers are actually located.
| | 05:12 | Maybe we don't want to be in the center of
them, we want them rotated around a little bit.
| | 05:17 | We can change the width of the front in terms
of how far the front left and front right bleed.
| | 05:22 | Is it really in the front or is it more front and sides?
| | 05:25 | We can collapse where our sounds are located
and we can change where the center is.
| | 05:31 | Notice how the center gets bigger or the sides get bigger.
| | 05:34 | We can change - and we can also change the balance.
| | 05:37 | You know, this is a whole lot easier to explain if
you've got six speakers rather than a single headset.
| | 05:42 | And so the best thing to do is simply load up a six track music
clip, double click on the panner, sit back, close your eyes
| | 05:48 | and have a wonderful time to where this stuff comes from.
| | 05:51 | So the panner gives us the ability to control where in space our
sounds are set and it's as easy as Control-clicking on a panner
| | 06:01 | to change it from surround to stereo or from
stereo to surround and we can take single tracks
| | 06:08 | and we can have them pan and you
already know how to use envelopes.
| | 06:11 | But just to show this to you, we can change this by highlighting
the clip, and we'll make this a little bit bigger, Option Z,
| | 06:21 | and we're going to open up the panner
and let's just reset this back to here.
| | 06:26 | There we go.
| | 06:27 | Now I'm going to have the explosion go from left-to-right so
I'm going to turn on Latch or Touch, it would be the same thing.
| | 06:37 | Latch and Touch work exactly the same
the first time you record keyframes.
| | 06:41 | The difference is when you rerecord keyframes.
| | 06:45 | We're going to have this start on the
left-hand side and play the explosion.
| | 06:51 | See what happened?
| | 06:52 | We changed the location of the surround so
it moves from the left to the right side.
| | 06:58 | I don't want the Y value to change perhaps, I just want the
horizontal position to change and I want it to move smoothly
| | 07:04 | so I'll just select my keyframes and get rid of
all the stuff that's adding garbage in the middle,
| | 07:08 | then watch, boom, moves from the left to right.
| | 07:12 | Even though it's surround sound you already know how to be
able to adjust it because we use keyframes the same way.
| | 07:18 | Notice also here if I twirl down; let's get rid of that track.
| | 07:27 | Notice my default keyframes are volume
and pan when I'm working in stereo
| | 07:32 | but my default keyframes are different
when I'm working with surround.
| | 07:35 | All these different values are available
to me when I'm working in surround.
| | 07:39 | So you're going to see a greater list of default
envelopes when you're working in surround sound.
| | 07:45 | But just because the envelope is there doesn't mean I use it.
| | 07:47 | I was only using the X value to shift it from left-to-right.
| | 07:51 | So I didn't need to use the others.
| | 07:52 | I don't need to have keyframes for them.
| | 07:53 | You only keyframe that which you want to frame.
| | 07:56 | Well, now that we've seen how we can lay clips to tracks,
we can change levels, we can set keyframes and we can switch
| | 08:03 | between stereo and surround, now we need to look at one
more elements to finish our mixing and that's busses
| | 08:09 | and submixes and final output and that's next.
| | Collapse this transcript |
| Buses and submixes| 00:00 | The way that audio flows inside Soundtrack
Pro is it starts at the track;
| | 00:04 | it flows to a bus which goes to a submix which goes to output.
| | 00:09 | A submix is a collection of similar
tracks that routes to an output
| | 00:14 | and the submix menu is how tracks are assigned to a submix.
| | 00:18 | There's always at least one submix inside
Soundtrack for even the simplest of projects.
| | 00:23 | Just as a bus carries people from multiple starting points
to the same destination an audio bus carries different tracks
| | 00:31 | to a single location and a Send is how audio gets onto a bus.
| | 00:36 | So what we'll do here in this section is I'll
show you how to create an additional submix.
| | 00:40 | I'll show you how to rename the submix.
| | 00:42 | And the reason is that using understandable names
is really, really helpful in efficient mixing.
| | 00:48 | The worst thing you can do is use cryptic names, come back
to it tomorrow and have no clue what you're trying to do.
| | 00:53 | And I'll show you how to route audio to
different submixes then we'll create a bus,
| | 00:57 | we'll name a bus and we'll send an audio to the bus.
| | 01:01 | But why would you do this?
| | 01:02 | Well, that's what we're going to show
in this section and the next section.
| | 01:06 | Let's start by creating an additional submix.
| | Collapse this transcript |
| Creating submixes| 00:00 | I've created a new project called Ten Taj Restaurant Submixes.
| | 00:04 | And I've highlighted the mixer because it's easier to
see submixes in the mixer than it is anywhere else.
| | 00:09 | Now let's take look at what we've got here.
| | 00:10 | I have six tracks, which is what we are working with before.
| | 00:14 | I have one submix and one master.
| | 00:16 | We can name the submix by clicking in
it and I'm going to call this sub-SOT.
| | 00:23 | So now I know it's a submix and it's
focusing on the sound on tape audio.
| | 00:27 | And this will become obvious why in just a second.
| | 00:29 | Now why I would want to create more than one submix?
| | 00:32 | Most of the time one submix is just stucky and
you'll be able to get mixes done with no problem.
| | 00:36 | But here's an example, let's say that you have
to deliver a soundtrack and the soundtrack has
| | 00:42 | to be completely mixed, that's file number one.
| | 00:44 | File number two is just the dialogue.
| | 00:47 | And file number three is the music
and effects called an M&E track.
| | 00:51 | Well yes, you could go in and by muting and
soloing and highlighting all the different tracks,
| | 00:56 | you could create all those different outputs.
| | 00:58 | But by using submixes, it become really, really easy.
| | 01:01 | And let me show you how.
| | 01:02 | A submix is on the way to final output.
| | 01:05 | All tracks must go through a submix
if they don't the track is inaudible.
| | 01:09 | So I want to create two tracks; one
that has my sound on tape, my dialogue.
| | 01:14 | And then go up to multitrack, add a submix, and now
there's here we'll call this sub M&E, music and effects.
| | 01:25 | Now go down to our submix menu.
| | 01:27 | It's down here at the bottom of the
mixers or it's over here on the Timeline.
| | 01:33 | You get the exact same spot.
| | 01:35 | If I set this to none I have made the track inaudible.
| | 01:38 | Well, I don't want to make it inaudible I just
want to make sure that my dialogue tracks,
| | 01:42 | track one and two go to this submix, and
everything else goes to the M&E submix.
| | 01:47 | So we'll click here, set this to M&E, and I have now assigned
it so that these first two tracks go to the SOT submix
| | 01:56 | and the last four tracks go to the M&E submix.
| | 01:58 | Now just to prove this point let's play it.
| | 02:01 | So we'll hit the Return key to get ourselves
back to the beginning and we'll hit the spacebar.
| | 02:08 | (Audio plays: Welcome to the Taj..)
| | 02:12 | Okay, notice what's happening; we're seeing our dialogue
coming here and our music and effects on the other submix.
| | 02:18 | (Audio plays: ...Caf?, one of over nineteen restaurants...)
| | 02:21 | As you'll see when we talk about exporting if
I don't want to export a submix, just mute it.
| | 02:26 | Poof. All the tracks that feed into it are now quiet.
| | 02:28 | (Audio plays: ...owned by our family...)
| | 02:30 | Or if I mute the other one I'm now just doing music and effects.
| | 02:37 | Whoa. Very cool.
| | 02:39 | Submixes are used in music all the time.
| | 02:41 | If you've got say a drum kit that you're covering
with anything from two to twenty-four microphones,
| | 02:45 | you'll feed all of those mikes into a single submix; so that
if you want to bring the drums upper down you don't have
| | 02:51 | to adjust twenty-four different tracks
you simply adjust the drum kit submix.
| | 02:55 | A submix is used whenever you want to group tracks
together for the purposes of collecting them for, say,
| | 03:02 | all of our dialogue or all of our music or all of our effects.
| | 03:05 | There's lots of reasons to use submixes.
| | 03:07 | Another reason which we'll talk about in the
next chapter is when we start to use filters.
| | 03:11 | EQ filter or a dynamic filter can be really best
applied not on an individual track but on a submix.
| | 03:17 | But there's an entirely different structure inside
Soundtrack that we haven't talked about and that is a bus.
| | 03:23 | And we'll do that in the next movie.
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| Creating buses| 00:00 | The power of submixes is it allows us to divide tracks up
into logical categories and give us a single point of control.
| | 00:07 | And it's easy because all we have to do is point
the output of the track toward a particular submix.
| | 00:12 | But sometimes we don't want the entire
output of the track going to one spot.
| | 00:17 | For instance, reverb.
| | 00:19 | If I wanted to apply reverb I don't want to apply reverb
to everything it becomes so echoy I can't hear it.
| | 00:24 | I just want to apply reverb to a portion of the audio.
| | 00:27 | Well submixes don't allow me to apply
audio to a portion but buses do.
| | 00:31 | What I can do is I can have a bus that carries
one track of audio or five or fifty tracks.
| | 00:37 | There's no real limit.
| | 00:38 | Take the audio out of one track in
whatever quantity I want, put it to a bus,
| | 00:43 | and then add an effect like reverb or
echo or something that's going to linger.
| | 00:48 | Well, we can do that better with a bus than we can with a submix.
| | 00:51 | So here's how it works.
| | 00:52 | We'll add a bus.
| | 00:54 | Add bus. It's under the multitrack menu.
| | 00:57 | And we're going to call this the voice bus.
| | 01:01 | Now I want to send audio to a bus.
| | 01:03 | With a submix we control the submix by the routing down here.
| | 01:08 | But with a bus we have to create a send.
| | 01:11 | You've got to get onto the bus.
| | 01:12 | And the way we get onto the bus is with a send.
| | 01:14 | So we're going to Control-click up here.
| | 01:16 | We're going to spend a whole chapter talking about effects.
| | 01:19 | So that's coming.
| | 01:20 | And the real reason that we have buses is because of effects.
| | 01:23 | So this becomes a two-step movie.
| | 01:25 | For right now we're just going to create the bus
and I'll show you why we create it in the next set.
| | 01:30 | So we add a send.
| | 01:31 | And we're going to send this to the voice bus.
| | 01:33 | Okay cool.
| | 01:34 | We've now sent this to the voice bus.
| | 01:36 | But how do we adjust how much we send?
| | 01:38 | Well that's over here on the- let's just move this
off one side here and click on the background.
| | 01:45 | The send, if I double click on it, opens up the
effects tab, a place we haven't been to yet.
| | 01:51 | And it allows me to control the settings for the send.
| | 01:55 | Now notice here I'm able to specify
how much audio I want to send.
| | 02:00 | Do I want to send all of it?
| | 02:01 | Zero dB means all.
| | 02:03 | It doesn't mean none; it means the full amount.
| | 02:05 | It's a little confusing.
| | 02:06 | If I fade this all the way down I'm going to send no audio.
| | 02:10 | -96 means it's totally faded to black.
| | 02:13 | So I can adjust the level of audio that I'm
sending to the bus from this slider right here.
| | 02:20 | And these are all controls for surround.
| | 02:24 | Remember I said that Soundtrack Pro
was all surround all the time.
| | 02:28 | Well these are all the surround controls.
| | 02:30 | Most of the time they're invisible
but here I've got access to them.
| | 02:34 | There's really two key points to a send.
| | 02:37 | First is you have to ask whether you
want it to send at a certain level.
| | 02:41 | And the second is whether you want
it to be before or after the fader.
| | 02:44 | If it's post fader that means that as I move this volume up and
down on the fader the amount of volume going to the bus changes.
| | 02:53 | If it's pre-fader turning it off then that
means that the amount of volume that goes
| | 02:58 | to the bus remains the same regardless
of how this fader goes up and down.
| | 03:03 | And there's no one answer that's right.
| | 03:05 | Sometimes you need pre-fader turn it off.
| | 03:07 | Sometimes you need post fader, turn it on.
| | 03:09 | In this particular case, we'll take
it post fader so we'll leave it on.
| | 03:13 | And we're going to feed the full amount over to our bus.
| | 03:16 | So I'll set this to zero which means not nothing it means
the exact level of audio that we recorded the clip at.
| | 03:23 | Again, this is just a volume control the
same way as we've got a volume control here.
| | 03:27 | Now let's turn everybody else off.
| | 03:29 | So I'm going to solo this track here and get rid of the rest.
| | 03:35 | And now let's see we're going to solo the
bus and I think- let's see what happens here.
| | 03:41 | We'll solo the submix because otherwise
we won't be able to hear it.
| | 03:45 | So the signal flow is going from here into
the bus and from the bus over to submixer.
| | 03:52 | And when I play- let's go back to the beginning
here, hit the Return key and hit the spacebar.
| | 04:05 | We need a bigger screen is what we need.
| | 04:08 | Here we go.
| | 04:11 | Option+X if that cycle regent ever gets in the
way, Control+D to hide, hit the home key, spacebar.
| | 04:19 | It's going to start talking in a second.
| | 04:23 | (Audio plays: A lot of my customers have
been wondering what a Tandoori even...)
| | 04:26 | Okay there it is.
| | 04:27 | (Audio plays: ...looks like.
| | 04:28 | Let's go to the kitchen and we will...)
| | 04:29 | So we took the audio from our track, fed it to the bus, and the
bus goes to the submix and the submix then goes to main out.
| | 04:39 | We create submixes when we want to take the entire
output of a track and put it to a single location.
| | 04:45 | We create buses when we want to take a portion of the
output of a track and put it in a single location.
| | 04:51 | But why would we do either buses or submixes because it
seems an unnecessary complexification of the whole problem.
| | 04:58 | And the answer is we do submixes and we do buses
because we can add audio filters whether it's
| | 05:05 | as simple as a reverb or as complex as compression.
| | 05:08 | Filters give us the chance to really manipulate
our audio to create exactly the sound that we want
| | 05:14 | which means we should probably talk about filters.
| | 05:16 | And we're doing that next.
| | Collapse this transcript |
|
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18. Using FiltersFilter overview| 00:00 | There are over fifty audio filters in Soundtrack Pro 2.
| | 00:04 | And we've discussed them individually in our
title called Soundtrack Pro Audio Filters.
| | 00:08 | Now the title was designed around Soundtrack Pro 1 Audio Filters
| | 00:12 | but essentially the filters are the same
between the two versions of the software.
| | 00:17 | There are a couple of differences however.
| | 00:18 | First they've gone from being gray to being blue.
| | 00:22 | And second a few of the filters have
been upgraded to support surround sound.
| | 00:27 | But the operation and what they do
is essentially exactly the same.
| | 00:32 | So I'm not going to go through all fifty filters.
| | 00:34 | One all of our eyes would cross and we'd be bored to tears.
| | 00:37 | But I do want to concentrate on about
five or six really key filters.
| | 00:40 | But before I do I want to give you a quick definition.
| | 00:43 | You'll hear the term dry and wet.
| | 00:46 | Dry refers to the amount of source audio meaning unprocessed.
| | 00:50 | And wet refers to the amount of filtered or processed audio.
| | 00:54 | If you hear a person talking and there's no echo in their
voice that could be said to be a hundred percent dry.
| | 01:02 | It's the source, unprocessed sound.
| | 01:05 | If you hear a person talking and it's wildly
echoing then that's a hundred percent wet.
| | 01:11 | It's fully processed and generally
effects are a blend of dry and wet audio.
| | 01:18 | Remember in the last chapter we talked about submixes and buses.
| | 01:22 | Well here's a handy rule of thumb.
| | 01:24 | You want to apply filters that linger to buses like reverb.
| | 01:28 | And you want to apply filters that don't
to submixes like EQ or dynamic controls.
| | 01:34 | And we're going to follow this theme through as we start to apply
filters to some of the buses and submixes that we've created.
| | 01:41 | Books have been written on individual
filters so we don't have that much time.
| | 01:45 | But I do want to show you how to select a filter, how to add a
filter to a track, how to change the filter's stacking order.
| | 01:51 | It's just as important inside Soundtrack
as it is to video filters inside Final Cut.
| | 01:56 | I'll show you how to adjust a filter setting both
by applying a preset and by creating a new preset.
| | 02:02 | I'll show you how to key frame a filter, disable
a filter, reset a filter, and delete a filter.
| | 02:06 | Now the operation of all these is the same across
all filters it's just the results we get differ.
| | 02:12 | It's like applying a blur filter to a desaturate filter;
| | 02:15 | the process of applying the filter is
the same the results are different.
| | 02:19 | Here's the six filters that I think are the
most important and the ones I'm going to cover.
| | 02:23 | The first is a dynamic filter called the limiter
filter, 3 EQ filters, Fat EQ, Channel EQ and Match EQ,
| | 02:29 | a reverb filter called platinum verb and
a measurement filter called multimeter.
| | 02:34 | So those are the six we're going to cover and if you need
more information, well we've got in our Audio Filters title.
| | 02:40 | So let's get ourselves started first
by taking a look at the limiter filter.
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| Applying filters | 00:00 | There are multiple ways that we can apply a filter to a
track and filters are applied to the track not to the clip.
| | 00:06 | Probably the easiest though not the
fastest is to select the track
| | 00:10 | and then when the track is selected go
to the Effects tab in the left hand pane.
| | 00:14 | Your filter categories are listed on the left and
your individual filters are listed on the right.
| | 00:19 | A faster way to get there, however, is
to Control-click on the track header.
| | 00:23 | And when you Control-click you say Show Track Effects.
| | 00:26 | It automatically opens up the effects tab
for you and allows you to select an effect.
| | 00:31 | Regardless of whether you Control-click or whether you select
the effects tab the process of applying a filter is the same.
| | 00:37 | Filters are divided into categories.
| | 00:40 | Categories by what kind of function the filter performs.
| | 00:43 | For instance, under equalization, which changes
the relationship of frequencies inside a clip,
| | 00:49 | we see that there are four filters inside the EQ category.
| | 00:53 | If we wanted to apply a filter say, Fat EQ, you can either double-
click it and that opens it up and loads it down into the effects,
| | 01:01 | which are applied to that track or you can click
on it one time and hit the plus key which opens it
| | 01:08 | up and applies it to the effects to that track.
| | 01:10 | It is highlighting the name of the
track to which the filter is applied.
| | 01:15 | If you want to delete a filter simply highlight the name
click the minus or highlight the name and hit the delete key.
| | 01:22 | Now you'll notice I'm not talking about the
filter itself and how it works quite yet.
| | 01:26 | We'll get to there in just a minute.
| | 01:28 | So filters are applied to the track and
they're applied from the effects tab.
| | 01:33 | Filter categories are listed on the left and the filters
themselves are listed on the right within each category.
| | 01:40 | You double click a filter to apply it to the track
and once you've got it applied you need to adjust it.
| | 01:46 | Well let's try -- oh let's go to a limiter filter fewer settings.
| | 01:51 | Again, we're going to show you how the
limiter filter works a little later.
| | 01:55 | But it can be keyframed because everything can be keyframed.
| | 01:58 | If we twirl down the disclosure triangle notice
that just as we have keyframe envelopes for volume
| | 02:04 | and pan we have two keyframe envelopes for the limiter.
| | 02:08 | Well which two one called look ahead and one called release.
| | 02:11 | Notice that those are the two that
are checked in the auto column.
| | 02:14 | The auto stands for automation.
| | 02:17 | If you wanted to adjust the limiter filter, adjust it
gain for instance over time, you'd check the auto column.
| | 02:24 | And now just those parameters which are
checked show up as part of your envelopes.
| | 02:29 | Instead of having to wade through lots and lots of
settings and get completely lost with stuff you never need
| | 02:34 | to change you only need to keyframe those which you have checked.
| | 02:38 | Or you should check those which you want to keyframe.
| | 02:41 | And that's makes it very easy to make sure that
you're just adjusting the parameters that you want
| | 02:45 | and not getting distracted by the parameters that you don't.
| | 02:48 | How do you set a keyframe?
| | 02:49 | It's deceptively easy.
| | 02:52 | You double click on the line.
| | 02:53 | You drag the line up or down.
| | 02:56 | I mean does this seem at all familiar?
| | 02:58 | Sure. It's the exactly the same thing that we
talked about when we were dealing with animation.
| | 03:02 | Just because it's a filter doesn't mean its new interface.
| | 03:04 | Everything you already learned still applies
it's just that now we're not tweaking the volume
| | 03:09 | in the pan we're tweaking the setting of a filter.
| | 03:11 | And that setting which gets tweaked
is the one that's checked right here.
| | 03:16 | Now we've seen that we can temporarily disable
a filter but clicking this bypass button.
| | 03:21 | Or we can temporarily disable a filter but clicking the checkbox.
| | 03:25 | The checkbox and the bypass button do exactly the same thing.
| | 03:29 | And we can delete a filter but highlighting
its name and hitting the delete key.
| | 03:34 | Or we can delete a filter by highlighting
its name and hitting the minus key.
| | 03:39 | Whether you're applying a reverb filter,
a limiter filter, a Fat EQ filter,
| | 03:43 | the operation of how these things
get applied is exactly the same.
| | 03:47 | They're always applied to the track.
| | 03:49 | They're always applied from the effects tab.
| | 03:51 | And you can stack the filters as much as you want.
| | 03:54 | Let me show you one more thing and we'll
move on to actual how the filters work.
| | 03:58 | I'm going to just apply a whole bunch of dynamic
filters here, double click all this stuff.
| | 04:02 | Notice that I can have multiple filters applied to a track.
| | 04:05 | I can change the stacking order by click, hold, and dragging
a filter and change the order in which they are stacked.
| | 04:11 | This has exactly the same impact as stacking filters inside
Final Cut because filters process in order from top to bottom.
| | 04:20 | This means that first the envelope or filter gets processed, then
the adaptive limiter, then the expander, and then the compressor.
| | 04:26 | They don't process in alphabetical
order they process from top to bottom.
| | 04:30 | Now before the audio engineers in the audience have a coronary
you would never, ever, ever apply all four of these filters
| | 04:36 | to the same clip, the same track at the same time.
| | 04:39 | It would be like crossing the streams.
| | 04:40 | It's really bad.
| | 04:42 | But I'm using this to simply show you that we can adjust
the order of filters by click, hold, and dragging.
| | 04:48 | And that we can delete filters from the middle of a stack or
the bottom of a stack by simply highlighting and deleting.
| | 04:54 | So we've got complete flexible control over exactly the order
filters whether they get applied and what gets automated.
| | 05:01 | Now that you understand how to apply a
filter let's see how we can work a filter.
| | 05:06 | And to do that we'll start with my absolute
favorite filter, the limiter filter.
| | 05:11 | And that's next.
| | 05:12 |
| | Collapse this transcript |
| Using the Limiter filter| 00:00 | Of all the filters that I work with inside Soundtrack my
absolute favorite beyond all others is the Limiter filter.
| | 00:06 | What the Limiter filter does is it
reduces the dynamic range of a clip.
| | 00:10 | It reduces the distance between the softest
and the loudest portions of the audio.
| | 00:15 | If you're working with a professional
voice talent who knows exactly how
| | 00:19 | to use their voice then the Limiter filter may be less useful
because they are using the microphone as a dramatic object.
| | 00:26 | But most people wouldn't recognize a microphone if it dropped
on their foot and sometimes they take a big breath of air
| | 00:32 | and they're hammering the first syllable and then
they run out of air and they're gasping for breath.
| | 00:38 | And their dynamic range is wandering all over the place
and nobody can hear what they're saying half the time.
| | 00:43 | Well, the Limiter filter is your
friend and I apply it on virtually all
| | 00:48 | of my documentary mixes because it
just makes life so much easier.
| | 00:52 | But we've seen that we can apply a filter by
Control-clicking on the track header in the Timeline,
| | 00:57 | by going to the effects tab in the left hand pane.
| | 01:00 | We can also apply a filter by Control-clicking
inside the mixer and say add effect.
| | 01:05 | And this is the same list of categories
that we see inside the effects tab
| | 01:09 | and the Limiter filter is inside the
dynamics which means loudness and softness.
| | 01:14 | The dynamics category and there it is it's called Limiter.
| | 01:18 | Now it opens up this wonderful little
interface that's got exactly four controls.
| | 01:22 | The first control adjust the gain and this adjusts the output.
| | 01:26 | Here's what the Limiter filter says, I want
you to raise the level of this clip by five dB.
| | 01:33 | That's what this does raise the level of clip five dB.
| | 01:36 | At no time does any portion of the clip
ever exceed negative four in a half dB.
| | 01:43 | This means that if my person my guy here on camera is
talking at negative twenty his gain goes to negative fifteen.
| | 01:50 | We just made him five louder.
| | 01:51 | If he's at negative fifteen it goes to ten.
| | 01:54 | If he's talking at ten it goes to five.
| | 01:57 | But if he's talking at five it goes to
four-in-a-half and it doesn't amplify anymore.
| | 02:02 | What I'm able to do is I am able to set a ceiling,
a loudness above which my speaker doesn't go
| | 02:09 | which means it is impossible using
the Limiter to distort my clip.
| | 02:13 | I can bring the soft passages louder without running any risk
that my loud passages are going to blast out and distort.
| | 02:21 | Now the look ahead at two milliseconds is a good setting.
| | 02:25 | The release should be any number greater than five
hundred because you don't your background sound pumping.
| | 02:30 | And so I generally set it somewhere around six to seven hundred.
| | 02:33 | There's no magic at the release I just make sure it's at
least five hundred milliseconds, half a second or longer.
| | 02:39 | Now here's how you tune the Limiter.
| | 02:41 | Get our windows arranged here.
| | 02:43 | Go to the beginning where he starts
to talk and then hit the spacebar.
| | 02:46 | (Audio plays: Because I've been wondering
what a Tandoori even looks like.
| | 02:49 | Hey let's go to the kitchen and we will see how we
prepare a lot of traditional Indian Tandoori dishes.)
| | 02:55 | Your goal is to adjust the Limiter
so you're bringing in enough gain
| | 03:00 | that you see only a little bit of glimmering inside this line.
| | 03:04 | You don't want it really hammering that's going
to make your sound fat and blatty and unpleasant.
| | 03:09 | You want to have just a little bit of limiting which
means that it's increasing the gain of the clip
| | 03:13 | and throwing just a little bit away whenever
it hits that negative four-in-a-half dB
| | 03:17 | If you're not seeing any glimmering here increase the gain.
| | 03:21 | If you're seeing lots and lots of glimmering decrease the gain.
| | 03:24 | In general, when you're doing a mix you don't want
your main speaker much louder than about negative six
| | 03:30 | to negative four-in-a-half because then you've got no headroom
left for the rest of the stuff that you're going to mix.
| | 03:35 | In a documentary which is what I do, in a dramatic
-- you've got a little bit more flexibility.
| | 03:39 | Still can't go over zero so I want to make sure that it doesn't.
| | 03:42 | And I want to make sure I've got enough headroom for
what I'm doing so I set this to negative four-in-a-half
| | 03:47 | and I adjust this audio level -- Let's go over here.
| | 03:50 | (Audio plays: We are going to create a
great Tandoori dish by the name of ...)
| | 03:54 | Right there so it doesn't go much past, oh, half to one dB.
| | 03:58 | That tells me I've got this perfectly adjusted
and it's guarding my volume to make sure
| | 04:03 | that at no time does he go over negative four-in-a-half dB.
| | 04:05 | But we have a problem; the problem is I've got him talking
on track one and I've got him talking on track two.
| | 04:13 | I should probably put a Limiter filter on both because otherwise
it's going to sound good on one and not so good on the other.
| | 04:19 | But now I've got two Limiter filters working.
| | 04:22 | Well, that's where our submix comes in.
| | 04:25 | Instead of having a Limiter filter on every one of your Talking
Head tracks, which simply takes clock cycles away from the CPU,
| | 04:32 | you want to route all of your talking heads to a
single submix and apply the Limiter on the submix
| | 04:38 | because that way whether I've got one person on one track
talking or ten people on ten tracks talking I can make sure
| | 04:44 | that they all are at the same level when it outputs.
| | 04:48 | So I'm going to get rid of this filter here.
| | 04:50 | We're going to remove the Limiter and I'm going to move
over to here, add the affect dynamics Limiter and set this
| | 04:58 | to negative four-in-a-half dB, and set this
to about seven hundred and adjust my levels.
| | 05:04 | But I don't want to have to do this all the time.
| | 05:07 | It gets boring.
| | 05:08 | What I want to do is I want to be able to create a preset
so I can have this come up without me having to set it.
| | 05:13 | Well, it funny if you click on the show presets
button that's exactly what every filter provides.
| | 05:19 | I can set this as a preset.
| | 05:21 | And when I twirl down I can see that I've got
presets for classical music, and presets for vocals.
| | 05:25 | I click the plus button down here and I'll
call it Larry's VO preset negative 4.5dB.
| | 05:35 | And now I hit the enter key and I apply that preset.
| | 05:38 | Let's just reset everything to prove that it does.
| | 05:44 | Okay. Now we'll apply the preset.
| | 05:47 | Poof. Everything gets reset exactly the way it was.
| | 05:51 | Close this.
| | 05:52 | The Limiter filter is now applied to the submix
and now you can see why submixes are so helpful.
| | 05:57 | I've got all these different tracks of talking head audio.
| | 06:00 | They all route to the submix.
| | 06:02 | I apply the filter on the submix and I've got nice dynamic
control over everything without pushing to hard in the processor.
| | 06:09 | The Limiter filter you really need to experiment
with because this thing can just save your posterior.
| | 06:14 | It's a wonderful filter and it doesn't exist in final cut.
| | 06:17 | And it alone for no other reason is worth using soundtrack.
| | 06:21 | But there's still more filters to talk about.
| | 06:23 | There's a whole category that I want to
spend some time with equalization which all
| | 06:27 | of us in the know call it EQ and that's next.
| | Collapse this transcript |
| Using the Fat EQ filter| 00:00 | There's a whole category of filters called EQ filters
which change the characteristics of the sound.
| | 00:06 | They boost the low frequencies or boost the high
frequencies or reduce or boot just about anything.
| | 00:12 | They're all stored inside the EQ Category and there are
four of them and three of them are worth talking about.
| | 00:18 | The first one that I want to discuss is Fat EQ.
| | 00:21 | Selecting track one, we'll apply that.
| | 00:24 | Now if you haven't seen a professional audio
interface before what this does is this divides auto
| | 00:29 | from the extremely deep base twenty cycles a second to the
extremely high frequency twenty thousand cycles per second.
| | 00:36 | This range from twenty to twenty
thousand represents human hearing.
| | 00:40 | And while human hearing encompasses all
these frequencies human speech does not.
| | 00:45 | Human speech starts somewhere around two hundred
and goes to somewhere around five thousand.
| | 00:50 | Slightly lower for guys, slightly higher for girls,
and there's exceptions that prove every rule.
| | 00:55 | But human speech does not go the entire distance.
| | 00:58 | Another interesting thing, and we talked about this a little
bit earlier, is that the way that audio is structured is
| | 01:04 | that every time the frequency doubles it increases by an octave.
| | 01:08 | So twenty to forty is an octave, forty to eighty is an
octave, eighty to one sixty to three twenty to six forty
| | 01:15 | to twelve fifty rounding a little bit to
twenty-five hundred, five thousand, ten thousand.
| | 01:20 | It's interesting to me that I have the same difference in
pitch from ten thousand to twenty thousand which is a doubling
| | 01:26 | in frequencies as I do from twenty to forty cycles per second.
| | 01:31 | Both of them are octaves.
| | 01:32 | This is why we call audio as a log rhythmic or
exponential measure as opposed to linear like video.
| | 01:39 | Well, human speech -- what this Fat EQ does is it
divides these frequencies into five channels, deep base,
| | 01:46 | low base, mid range, high mid range and high.
| | 01:49 | So if I wanted to make a voice sound
warmer more inviting and sexier I'm going
| | 01:56 | to boost the low frequencies somewhere
between two and three hundred cycles.
| | 02:01 | How do I do it?
| | 02:02 | I click hold and drag up to increase;
click hold and drag down to take out.
| | 02:07 | If you've got a bad hum you can probably get rid of the hum
by grabbing some of the low frequencies and pulling it down.
| | 02:13 | I'd use the hum remover inside the analysis
tab first but the EQ can help in this regard
| | 02:18 | if there's a frequency or a tone that you don't like.
| | 02:21 | Now whenever you're using this you're
always making small adjustments.
| | 02:25 | We are all making mole hills.
| | 02:27 | We are never making mountains.
| | 02:29 | You never add that much EQ.
| | 02:31 | One, it's going to sound horrific.
| | 02:33 | Two, it's going to sound horrific.
| | 02:35 | And three people are going to look at you like you are nuts.
| | 02:38 | So instead you want to make adjustments
between two and say five dB.
| | 02:43 | Use small amounts.
| | 02:44 | You'll be amazed at what happens; the dramatic difference
between adding just a few dB at a specific frequency.
| | 02:51 | For instance, to make my voice a little bit warmer I'm going
to boost it around two hundred and twenty by about three dB.
| | 02:56 | Now another interesting fact is that vowels are low
frequencies and consonants are high frequencies.
| | 03:04 | If you wanted to improve the clarity of
somebody's speech you boost the high frequencies
| | 03:09 | because it makes the consonants easier to understand.
| | 03:12 | With my documentaries because many of the people
that watch are on the older side and they tend
| | 03:17 | to be losing their high frequency hearing I'm going to boost
my high frequencies somewhere around five thousand cycles.
| | 03:25 | I'm going to bump it up about four dB.
| | 03:27 | And I'm going to bump my real high frequencies up about four dB.
| | 03:31 | So I've got a little bit of a boost in the
high frequencies to make the consonants pop
| | 03:36 | out which makes the voice a whole lot easier to understand.
| | 03:40 | When you're listening to audio on an itty-bitty cheap
computer speaker all you hear are high frequencies
| | 03:44 | so there's an artificial boost there.
| | 03:46 | But if you're listening to stuff on a good TV set or a
good set of speakers and you need to improve the clarity
| | 03:52 | or you've got someone that mumbles bumping the high
frequencies is going to make a huge difference.
| | 03:57 | And again notice I've only added about four dB.
| | 03:59 | But in general for the docks that I put together I'm
always going to give a little bit of warmth to the base
| | 04:05 | and a kick to the high frequencies
to make it easier to understand.
| | 04:09 | Now there's lots of other things that you can do.
| | 04:11 | This is an enormously powerful filter.
| | 04:13 | But you're starting to see how by dividing the frequencies
up and playing with them either to increase or decrease,
| | 04:19 | and always in small amounts, we can
enhance the sound of the voice.
| | 04:23 | And you can try this yourself on the
voices that you have or our speaker here.
| | 04:27 | Just take a listen.
| | 04:28 | Here it is without the filter.
| | 04:30 | Turn the bypass on.
| | 04:31 | (Audio plays: ...restaurants owned by our family.
| | 04:33 | A lot of my customers have been wondering
what a Tandoori even looks like.
| | 04:37 | Let's go to the kitchen and we will...)
| | 04:39 | Let's solo this and see if you can hear a difference.
| | 04:42 | I'm going to turn this -- the filter on at that dividing line.
| | 04:45 | (Audio plays: A lot of my customers have been
wondering what a Tandoori even looks like.
| | 04:49 | Let's go to the kitchen and we will see
how we prepare a lot of traditional...)
| | 04:53 | See how it becomes a little bit crisper?
| | 04:55 | It's not offensively crisp it just becomes easier to understand.
| | 04:58 | This is the whole point behind Fat EQ.
| | 05:00 | You don't want people to say oh you
kicked in a filter there, didn't you?
| | 05:03 | No, you say wow he's easy to understand.
| | 05:05 | I enjoyed that show.
| | 05:06 | I understood what he was talking about.
| | 05:07 | That's the point.
| | 05:09 | But there's another kind of filter that we
can use and that's called the Match EQ filter.
| | 05:13 | And what that does is it helps us to
match EQ between two different events.
| | 05:18 | We'll talk about that next.
| | Collapse this transcript |
| Using the Match EQ tool| 00:00 | When I was putting together our title on Audio Filters
| | 00:02 | for Soundtrack Pro there's a filter
in the effects tab called Match EQ.
| | 00:06 | And there's about an eight hundred step process
to get it to work, but when it works it's amazing.
| | 00:12 | Well, what's happened with Soundtrack Pro 2
is they've made it even easier to use.
| | 00:18 | And let me illustrate what this does.
| | 00:19 | Let's listen to our star here talk.
| | 00:21 | First he's got the voiceover that's recorded.
| | 00:23 | And listen to his voice it has a nice, rich sound.
| | 00:26 | (Audio plays: Welcome to the Taj Caf?, one of
over nineteen restaurants owned by our family.)
| | 00:31 | Now we cut to the other shot where he's talking
on a different mic in a different location.
| | 00:36 | See how much thinner it sounds.
| | 00:37 | (Audio plays: A lot of my customers have
been wondering what a Tandoori oven...)
| | 00:41 | Now it's clearly the same voice, but
it doesn't have the same base richness.
| | 00:45 | What I could do here is I could apply an effect, Show Track
Effects and apply a Fat EQ filter to this effect on V2
| | 00:52 | and pump up the base just a bit to
give him a little bit more warmth.
| | 00:56 | Okay? So now when we apply this we'll bypass the effect.
| | 00:59 | (Audio plays: Welcome to the Taj Caf?..)
We got a nice bottom end there.
| | 01:02 | Make it nice and fat and rich.
| | 01:04 | But how do I get it to match?
| | 01:06 | So here's the trick.
| | 01:06 | You select the clip.
| | 01:08 | You go to process.
| | 01:09 | You go to equalization matching and
you set an equalization print.
| | 01:12 | This is exactly the same concept as setting
a noise print or an ambient noise print.
| | 01:16 | We're looking at what the equalization of the clip is.
| | 01:19 | Then we go to this clip, highlight it, and go
to equalization matching, apply equalization.
| | 01:25 | It finds how the clips are different and what
it needs to do to make them sound the same.
| | 01:30 | And now listen.
| | 01:31 | (Audio plays: Welcome to the Taj Caf?, one of
over nineteen restaurants owned by our family.
| | 01:37 | A lot of my customers have been wondering
what a Tandoori even looks like.)
| | 01:40 | We've got a little bit of echo which isn't EQ but the
tenor, the sound, the baseness of the voice is the same.
| | 01:47 | This is a whole lot easier than using the Match EQ filter.
| | 01:50 | And it's a brand new function inside Soundtrack Pro 2 that allows
you to take say Fred on Tuesday afternoon recording on one mic
| | 02:00 | and Fred on Thursday morning recording on a different mic.
| | 02:03 | And make Fred sound like it's the same guy
recorded at the same time on the same mic.
| | 02:08 | Equalization matching it's inside the process
menu and what it's doing is it's taking
| | 02:13 | and matching the sound of one clip to another clip.
| | 02:16 | It's just magical.
| | Collapse this transcript |
| Using the MultiMeter| 00:00 | Before we can understand the power that the Channel EQ
filter gives us, I need to explain why it works first
| | 00:06 | and to do that I want to illustrate a different filter.
| | 00:09 | I've opened up the mixer by clicking on the Mixer button.
| | 00:12 | I'm going to go over to the master output, Control-click,
and add an effect called, under metering, Multimeter.
| | 00:19 | This is a giant test instrument that as I play our sequence
I'm going to hide this now, we'll return, and play.
| | 00:27 | (Audio plays: Welcome to the Taj Caf?, one of
over nineteen restaurants owned by our family.)
| | 00:32 | What we're seeing is we're seeing the volume of the left channel,
the volume of the right channel and the frequency response
| | 00:40 | so we can see exactly from twenty cycles to
twenty thousand cycles where our sound is located.
| | 00:45 | Now this Multimeter's got a couple of seconds.
| | 00:47 | (Audio plays: A lot of my customers have been wondering...)
| | 00:49 | Notice the bars on the right will
have a dark blue and a light blue.
| | 00:53 | (Audio plays: ...what a Tandoori even looks...)
| | 00:55 | The dark blue represents the peak sound.
| | 00:58 | The light blue the average sound volume.
| | 01:02 | And here the higher the peak the more
intense the audio at that frequency.
| | 01:07 | And notice it's a guy talking.
| | 01:08 | (Audio plays: ...looks like.Let's go to the kitchen and we will
see how we prepare a lot of traditional Indian Tandoori dishes.)
| | 01:15 | (Music plays.)
| | 01:19 | So what the Multimeter allows us to do is to accurately measure
frequency, that's the center, and accurately measure both peak
| | 01:27 | and average audio levels, those are the bars on the right.
| | 01:31 | Because we're only working with stereo
we just have left and right.
| | 01:34 | If we were working with surround we
would have all six of those lit up.
| | 01:38 | The Multimeter can be applied to any track but for me
the best place to put the Multimeter is on final output
| | 01:45 | and just use it whenever I want to check and see how things work.
| | 01:48 | These settings on the left are perfectly okay.
| | 01:50 | You can just leave them as is.
| | 01:52 | For me, just use it as a way of testing to see what
my frequency response is and what I need to tweak.
| | 01:58 | But notice here as I play this- (Background noise)
- voice does not go at the very bottom.
| | 02:03 | (Audio plays: Okay. We are going to create...)
| | 02:05 | It's just, let's just solo this track, his voice.
| | 02:09 | (Audio plays: A lot of my customers have been
wondering what a Tandoori even looks like.)
| | 02:14 | (Let's go to the kitchen and we will see how
we prepare a lot of traditional Indian...)
| | 02:18 | Okay. So we're just working with
that small channel right in there.
| | 02:22 | And that's where the Channel EQ filter becomes so useful.
| | 02:26 | We'll talk about that next.
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| Using Channel EQ| 00:00 | Okay. Let's think about why we add music to our projects.
| | 00:03 | Well, music tells our audience what they should
feel and the text tells them what they should think.
| | 00:10 | And if you're lucky what they feel and
what they think should be in synch.
| | 00:15 | Well if music is designed to drive the emotion of a
project then we want the music to be as loud as possible.
| | 00:22 | The problem is music occupies the same frequency as human speech.
| | 00:26 | So if I'm talking and I've got music playing loudly
you can't hear me because the music drowns me out.
| | 00:32 | Well this is where the Channel EQ filter comes in.
| | 00:34 | I'm selecting the music, notice I've clicked on the music track
down here, right there music background, double-click Channel EQ.
| | 00:41 | And this looks similar to but not
quite the same as the Fat EQ filter.
| | 00:46 | All audio is always drawn with deep base
on the left and high treble on the right.
| | 00:50 | And this time instead of dividing five categories
it divides into eight: extreme deep base, deep base,
| | 00:58 | deep voice base, mid-range, etcetera, etcetera, etcetera.
| | 01:01 | What the Channel EQ allows me to
do is to dig trenches in the music.
| | 01:05 | Now remember when we looked at the multimeter and
we saw that our guy talking was really talking
| | 01:10 | from about two hundred cycles to about four thousand cycles.
| | 01:15 | So all I'm doing is I'm click hold and dragging
on this line and I'm building a small trench.
| | 01:21 | And I'm dropping the frequencies from roughly three hundred to
roughly four thousand dropping them down about six to seven dB.
| | 01:30 | This means that my music is going to be untouched in
the low frequencies, untouched in the high frequencies,
| | 01:37 | but the mid range frequencies which correspond to where he's
talking are going to be decreased by about six dB which works
| | 01:44 | out to be about fifty percent of the volume of the music.
| | 01:46 | This means that I can keep the base and treble of
my music up nice and loud to drive the emotion.
| | 01:53 | And yet keep the middle portion where his voice frequencies
are keep that down so I can clearly hear his voice.
| | 01:59 | Madison Avenue has been using this technique for years and years
which allows them to have both the music at a really high volume
| | 02:05 | and the announcer's voice at a really high volume.
| | 02:07 | Remember it still can't go over zero.
| | 02:09 | You can hear the content and feel
the emotion all at the same time.
| | 02:13 | Let's play this with and without
see if you can hear a difference.
| | 02:16 | We'll bypass the filter.
| | 02:17 | We'll solo the voice and we'll solo the music.
| | 02:20 | (Audio plays over music: Welcome to the Taj Caf?,
one of over nineteen restaurants owned by our family.
| | 02:29 | A lot of my customers have been wondering what
a Tandoori even looks like. Let's get to the...)
| | 02:33 | There I've increased the gain
on the music so it now becomes hard to hear him.
| | 02:38 | (Audio plays: Welcome to the Taj Caf?, one of over
nineteen restaurants owned by our family. A lot of my...)
| | 02:44 | Okay. Now this time when it kicks to that
green bar up I'm going to turn on the filter.
| | 02:49 | See if you can hear a difference.
| | 02:50 | (Audio plays over music: Welcome to the Taj Caf?,
one of over nineteen restaurants owned by our family.
| | 02:56 | A lot of my customers have been wondering
what a Tandoori even looks like.
| | 03:00 | Let's get to the kitchen...)
| | 03:01 | See how the very high frequencies remained untouched?
| | 03:04 | The very low frequencies remained untouched?
| | 03:06 | But all of a sudden as soon as I kick that filter in it
became a whole lot easier to understand what he's saying.
| | 03:13 | And that's because the center frequencies were channeled
down to allow the voice to nestle into that channel
| | 03:19 | so that the music and the voice didn't conflict.
| | 03:22 | This is a nice technique when you really want to have a strong,
emotional drive to your music and yet not have it conflict
| | 03:28 | with somebody on camera that's talking
because you need to hear what they're saying.
| | 03:33 | So we've seen several things; one is we used the Fat EQ
to improve the clarity of the voice by boosting the high's
| | 03:39 | and the warmth and sexiness of a voice by boosting the
low's, the Channel EQ to balance the emotion of the music,
| | 03:46 | the content of the spoken word, equalization
matching in the process menu to make it easy
| | 03:51 | to take two different voice recordings of the same actor on
two different days and make them sound like they were done
| | 03:56 | at once, multimeter to be able to measure everything.
| | 04:00 | But this is also so workman and craftsman like.
| | 04:03 | What happens if we want to have some fun?
| | 04:06 | Nothing creates more fun than reverb and that's
the last filter we're going to talk about.
| | 04:11 | And that is next.
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| Using the Reverb filter| 00:00 | The last filter that I want to talk about
is a reverb filter called PlatinumVerb.
| | 00:04 | And it also gives me a chance to describe
why you'd want to use a bus as opposed
| | 00:08 | to a submix because reverbs are really good for that.
| | 00:11 | But first let's take a look at what the reverb filter is.
| | 00:13 | I'm going to put it on our number two track, Control-click,
Add Effect, Reverb, PlatinumVerb and Space Designer.
| | 00:22 | Soundtrack Reverb is okay.
| | 00:24 | PlatinumVerb is really cool and easy to use.
| | 00:26 | And Space Designer, well, I'll just
save that for you taking a look at.
| | 00:29 | It is unbelievable.
| | 00:31 | I spend a lot of time on that audio filter just discussing it.
| | 00:35 | It's got over two thousand presets way
more than I want to deal with right now.
| | 00:39 | We're going to go to PlatinumVerb.
| | 00:41 | Now this is one of the filters where I'm not even going to begin
| | 00:44 | to explain how it works just frankly
half of it I don't understand either.
| | 00:47 | This is where we can take advantage of the
presets that are built into the bottom.
| | 00:50 | When we click on show presets and twirl down user
presets we can pick the size room we want to be in.
| | 00:57 | You don't want to use an echo to imply a big room.
| | 00:59 | An echo is what happens when you're
standing in the canyon somewhere.
| | 01:03 | But reverb is simply the bounce that occurs off the walls.
| | 01:07 | And the reverb is different in a gym
than in a club or a broom closet.
| | 01:11 | Well this allows you to pick the size room you want to be in.
| | 01:14 | I'm going to pick a big room and apply
the preset by clicking Apply Preset.
| | 01:19 | And it changes all these wonderful little sliders
which I don't even care about what they do.
| | 01:23 | But I do care about these two up here.
| | 01:25 | Notice the Dry versus the Wet.
| | 01:28 | What dry versus wet does-- I'll put the
mixer away and position myself back here.
| | 01:35 | If I have zero wet and a hundred percent dry, it sounds normal.
| | 01:39 | (Audio plays: Welcome to the Taj Caf?, one of over...)
| | 01:42 | Okay. We'll kill our music and focus just on our speaker here.
| | 01:46 | (Audio plays: Welcome to the Taj Caf?, one...)
| | 01:49 | Okay. That's exactly what we expect.
| | 01:51 | If I do a hundred percent wet and
zero percent dry it's all defect.
| | 01:55 | (Audio plays: one of over nineteen
restaurants owned by our family)
| | 01:59 | OK. Most of the time with things like reverb filters you want
to apply just the spice, just a flavor of the filter.
| | 02:05 | You don't want to apply a lot of it.
| | 02:07 | And as a general rule you want to have the
total amount roughly equal to a hundred percent.
| | 02:12 | So I'm going to have dry plus wet equals a hundred percent.
| | 02:17 | It's not a hard and fast rule, but it's a good rule for right now.
| | 02:20 | (Audio plays: ...the Taj Caf?, one of over
nineteen restaurants owned by our family.)
| | 02:24 | Hear how by just boosting a little bit of
that reverb we increase the size of the room.
| | 02:29 | (Audio plays: Welcome to the Taj Caf?, one of
over nineteen restaurants owned by our family.)
| | 02:34 | Now in this particular case he's standing outside.
| | 02:36 | The reverb does not conceptually make sense but I'm
not trying to apply reverb on this specific clip.
| | 02:42 | For aesthetic reasons I'm applying
reverb so I can show you how it works.
| | 02:46 | We use reverb to tell the viewed
what size room our speaker is in.
| | 02:50 | If you're doing your job right you're getting nice,
clean, tight audio from a really good mic that's nice
| | 02:56 | and close to him and picking that speaker up.
| | 02:59 | Then you're using reverb to imply the size room they need to be
| | 03:03 | in because it's a whole lot easier to
add reverb then to take reverb out.
| | 03:07 | But here I've got two audio tracks, track one and track two.
| | 03:11 | And I'd like to apply this filter to both.
| | 03:13 | Well here we can take advantage of a bus.
| | 03:16 | So let's get rid of it on track two.
| | 03:18 | Highlight it and delete it.
| | 03:19 | Let's open up the mixer.
| | 03:21 | And we'll go to the bus, SOT bus, and
we'll add a reverb effect, PlatinumVerb.
| | 03:28 | And I want to make it a hundred percent wet.
| | 03:31 | So it's all reverb all the time.
| | 03:34 | Now I'm going to go over to our first two tracks,
Control-click, add a send, send to the SOT Bus.
| | 03:43 | But I'm only going to send a little bit
of the audio, oh about minus twelve.
| | 03:48 | And I'm going to send to the bus and add about minus twelve here.
| | 03:54 | I'm not sending all their audio.
| | 03:56 | I'm just sending a small piece of their audio.
| | 03:59 | I'm decreasing the gain so the bus is all reverb
-- we'll call it reverb bus that's even better.
| | 04:06 | Now the reverb is coming exclusively from the reverb bus.
| | 04:10 | When I play this I get some of the audio from here.
| | 04:13 | Truck it on over to the reverb bus and now I can adjust
the amount of reverb with one slider right there.
| | 04:21 | And let's just put this off to one
side and back this up and play it.
| | 04:26 | (Audio plays: Welcome to the Taj Caf?, one of
over nineteen restaurants owned by our family...)
| | 04:33 | (Audio plays: Let's go to the kitchen and we
will see how we prepare a lot of traditional...)
| | 04:39 | So what we've done is we've added the reverb and it's now gone
through a bus which allows me to vary the amount that's going
| | 04:48 | into the bus and vary the amount of
reverb that I'm getting back from the bus.
| | 04:53 | I don't have that kind of control with a submix.
| | 04:55 | I do with a bus which is why we've
got both choices inside Soundtrack.
| | 05:01 | Now there's a lot of information in Soundtrack's
manual if you need more help with buses and submixes.
| | 05:05 | And I grant you there are complex
subjects the manual can help explain it.
| | 05:09 | But I wanted to show you an example
of why we'd use it in real life
| | 05:12 | so you'd get a better handle on how
you'd use it for your own projects.
| | 05:16 | There's a whole new feature inside Soundtrack
Pro 2 that I want to concentrate on next.
| | 05:20 | That's called conforming.
| | 05:22 | What conforming allows me to do is to take
changes that I've made inside Final Cut
| | 05:27 | and have those changes automatically applied inside Soundtrack.
| | 05:30 | And this can save you a ton of time.
| | 05:33 | We'll talk about it next.
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|
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19. ConformingConforming overview| 00:00 | Probably the two most terrifying words that
any audio engineer can hear is picture lock.
| | 00:07 | You know as well as I do that picture lock is simply a
chance for the editor to go back and change everything and then
| | 00:15 | two days after deadline, hands you this revised edited
version that you got to somehow scrambled and get done.
| | 00:21 | Well in the past it's been a life-changing
experience and not for the better.
| | 00:25 | With Soundtrack Pro 2, there's a new feature
called conforming, which makes it easier.
| | 00:30 | Conforming us the process of reconciling changes between
versions of the same Final Cut Pro sequence. Now note the
| | 00:38 | changes need to be made in the same sequence,
not between different sequences or projects.
| | 00:44 | This means that if you're interested in keeping backups you're
going to have to keep the same sequence name when you send it
| | 00:49 | the first time and make backups and change the name of the backup.
| | 00:53 | Here is the process.
| | 00:55 | First you send the original sequence
when the audio engineer starts audio work.
| | 00:59 | You continue cutting inside Final Cut, inside the same sequence,
| | 01:04 | and then you send is the second sequence
| | 01:07 | and reconcile changes begins.
| | 01:09 | And then once you reconcile changes, you continue your audio work.
| | 01:13 | Well when you send projects, it starts inside Final Cut.
| | 01:17 | So that's where we are going to start next.
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| How to conform| 00:00 | I'm inside Final Cut and I've been editing inside this Tandoori kitchen.
I've created a version of my piece, which I called version 1 and I sent it.
| | 00:11 | Then I continued editing. In order for conforming to exist,
I need to send my changes out from the same sequence.
| | 00:20 | So when I'm ready to send, I would then
select the sequence that I want to send
| | 00:25 | and go File, Send To, Soundtrack Pro Multitrack Project.
| | 00:29 | It's important that both versions come
from the same sequence in the same project.
| | 00:37 | When you open up the Save dialog you're able
to give it a name and give it a location.
| | 00:41 | But I want to take just a second to explain this stuff.
| | 00:44 | If you want to automatically open up Soundtrack, then you check the top box.
| | 00:48 | If you want to include video so they can
see what's going on, you have two choices.
| | 00:53 | A base layer video essentially is the same as a QuickTime reference movie.
It doesn't include any effects, and it doesn't include anything special,
| | 01:01 | and it's designed to be opened inside Soundtrack,
on the same system that you were running Final Cut.
| | 01:07 | If you're going to give this to somebody else, than you want
to give them a fully rendered video. This is equivalent of a
| | 01:12 | self-contained movie, but it will have all your effects
rendered. This is faster, just as a reference movie is faster.
| | 01:18 | This is including all the elements.
| | 01:21 | If you're the same person is doing both the editing and the sounds and
you're doing it on the same system, base layers always the best choice.
| | 01:29 | Because we're saving a lot of metadata with the video and
the audio files in order for conforming to work accurately,
| | 01:36 | this last one needs to be checked.
| | 01:38 | So the default setting for somebody that's working on their system
| | 01:42 | would be the default settings. If you're sending the video to someone else,
| | 01:46 | these would be the settings that you'd use. You don't need
Soundtrack Pro opened, you want to save fully rendered video.
| | 01:52 | It'll take a little bit longer.
| | 01:54 | I've already exported to versions here and they are stored inside the Projects
folder, and one's called 12 The Taj V1 and the others called 12 The Taj V2.
| | 02:07 | They were both sent from the same sequence. I changed the names after I sent them
so that be possible for you guys to find them when you run the exercise files.
| | 02:15 | You start the process of conforming
| | 02:18 | by opening both versions inside Soundtrack. Then
you click on the Conform tab down in the Lower Pane,
| | 02:25 | and it says it's about to synchronize. So Conform Projects.
| | 02:29 | It pops up a dialog saying, what's the original version?
In this case V1. What's the new version? In this case V2.
| | 02:36 | And you click on Continue. It goes through, and it looks
at the two projects, and it now creates a third project.
| | 02:44 | We've got the original project,
| | 02:46 | we've got the updated project,
| | 02:48 | and we've got the result of the two projects.
| | 02:51 | Now, the Soundtrack is going to automatically create this
last version and it creates an based upon the second version.
| | 02:58 | So this approval process is really for your own purposes,
your administration and in keeping track of everything because
| | 03:05 | Soundtrack's going to create the project anyway. Just so
we see what we're working with, I'm going to type Control+D,
| | 03:10 | make the right-hand side disappear and turn off showing
the video track so I can see more of the audio files.
| | 03:18 | Now as we go down here, this is essentially a very fancy audio change
list, except it hasn't had to be compiled by somebody's assistant.
| | 03:28 | And as we look at this change list we can
see that somethings have been added.
| | 03:32 | Some been deleted
| | 03:34 | and some are totally unchanged.
| | 03:38 | Well this is a database that's listing everything that's changed
inside our project and if we click the Hide Unchanged button,
| | 03:45 | it only shows us that which is either been added, deleted or modified.
| | 03:51 | We can now go through on a clip-by-clip basis. Click on the first clip.
| | 03:56 | It highlights in the yellow in the global finder,
| | 04:00 | where the clip is and highlights the clip is to say,
'We've added this in the updated version. Do you want to approve it?'
| | 04:06 | Yup, I want to approve it. So that's now been changed to Approve
and I can go through here- see the status with a green check?
| | 04:11 | And I can go through here and say I like this,
I don't like this or I want to move it.
| | 04:16 | Rather than having to look through pages and pages of notes,
which is transcribed from somebody else's pages and pages of notes,
| | 04:24 | Soundtracks gives you this compare and contrast ability to conform projects. Now,
it's still time-consuming because you've got to go through each individual clip.
| | 04:33 | The benefit to this though is that you don't have
to do all the manual process of pushing the paperwork.
| | 04:38 | Conforming will make it easier.
| | 04:39 | It's still going to create this project. It's right here. I could just
start there and begin work. Save it, give it a name and continue editing.
| | 04:46 | But if you want us see what every change
is and how it impacts what you've already done,
| | 04:51 | then the Conform process gives you an automated way
to do so. Just a couple of other notes that you can see,
| | 04:56 | for instance, we select the clip and click this button,
it will then allow us to highlight where that clip is located.
| | 05:02 | So we can see it. So like a highlight key. We can see the
yellow line, and it's highlighted here. We can group clips and
| | 05:08 | create groups. We can say we want to add them to
the updated or we can change the media, change the duration.
| | 05:16 | There's a lot that can be done here. I don't want to spend
a lot of time dwelling on it because there's so many
| | 05:21 | potential variations. It's really designed to help you
get your hands around what the changes are to the project,
| | 05:28 | so you can then take an move stuff appropriately
from the earlier version to the later.
| | 05:33 | That's conforming but we still have one more huge chunk to go.
| | 05:37 | And that's the mix is done, everything is finished,
| | 05:41 | how do we get it out of Soundtrack?
| | 05:43 | Export and output is next.
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20. Exporting and OutputtingExporting and outputting| 00:00 | Well, you the moment would never arrive, but it is here.
Your audio has been recorded, repaired, mixed, filtered.
| | 00:07 | It is done and finished and ready to output.
What the heck are you going to do with it?
| | 00:12 | Well if you need to output a file that's been
sent from Final Cut Pro into an audio file project,
| | 00:18 | all you need to do is to save the file.
| | 00:21 | To output a file sent from Final Cut Pro into
a multi-track project, you'd need to export the file.
| | 00:29 | And to output a file that was not sent from
Final Cut Pro, then you also must export the file.
| | 00:36 | Now there's lots and lots of different audio
formats, but here's three that I'd have you consider.
| | 00:40 | If you're sending a file to the Mac, an AIF or AIFF
| | 00:44 | is an uncompressed, extremely high quality audio format. It's
the same audio format as on an audio CD that you buy at a store.
| | 00:52 | If you going to a PC, a WAVE format is
uncompressed and equally high-quality.
| | 00:59 | In fact, the actual audio data in an AIF and a WAVE are
identical. The only thing that's different is the file header.
| | 01:05 | If you're going to send it to the web however, you need to compress it.
| | 01:09 | And a pretty good compression codec is an AAC codec, which
is compressed. Much smaller file size, but still high quality.
| | 01:17 | There are many others to choose from, but those three
should be amongst the first to consider depending upon
| | 01:22 | what your purpose is of exporting the file are.
| | 01:25 | Final Cut can only work with AIF or WAVE or SDII files.
| | 01:32 | Final Cut will not accept any kind of compressed audio.
| | 01:36 | With that as a background, let's take a look at
how we're going to get files back into Final Cut,
| | 01:41 | and we'll start with an audio file project.
| | 01:43 | And that is next.
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| Exporting an audio file| 00:00 | OK, let's take a real simple example. Here I am inside Final
Cut. I've got a talking head and his audio is desperately low.
| | 00:07 | [Audio plays: "our playing shows we'll try to...]
| | 00:09 | Way down around -18, -20. Way too low. So we're
going to send this over to an audio file project.
| | 00:14 | We already know how to do that.
Control-click, Send To, Audio File Project.
| | 00:19 | It gives us a name. We store this where ever we want. I'm just going
to save it to the desktop because it's not going to live very long.
| | 00:25 | Loads it up as an audio file project. I then decide that what
I want to do is normalize the audio. So I go Process, Normalize,
| | 00:33 | normalize to -4.5. Click OK. It's now louder. I'll I need to do
is to get it back to Final Cut. Now, I could've done a lot
| | 00:41 | more processing, I could've killed the noise, I could of done-
goodness knows what all I want to do, but once I'm done,
| | 00:47 | which is now, how do I get it back?
| | 00:49 | Because it's sent as an audio file project, all I have to do is
to save it. The changes that I've made are saved into this file
| | 00:57 | and instantly updated in the Final Cut.
| | 01:01 | Now here we have two choices. We can include the source
audio or reference the source audio. This will make the file
| | 01:06 | bigger, but it will play on any system.
| | 01:09 | Referencing the source audio means it will only play on your
system. Because audio is not that big compared to video,
| | 01:16 | my recommendation is always include the source audio,
| | 01:19 | and you could say don't show me this
again, just always include it. Click OK.
| | 01:24 | OK. It's now saved. Switch back to Final Cut
and notice there's our louder waveform.
| | 01:29 | [Audio plays: "Between shows we'll try to..."]
| | 01:32 | I'l just back up where he needs to be.
| | 01:34 | So the easiest is to send the file to an audio
file project and then you just have to save it.
| | 01:40 | Things get a bit more complex when we are
sending and saving a multitrack project.
| | 01:46 | We'll talk about that next.
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| Exporting a multitrack project| 00:00 | Before we can save a multitrack project, there's
one gotcha that you have to pay attention to.
| | 00:08 | It's all the way down here at the bottom,
| | 00:10 | and it's a part of the master
output and a part of the sub mixes.
| | 00:16 | If you click on the sub mix, remember I said that
Soundtrack is always surround all the time?
| | 00:21 | Well by default, what this does is it's going to default
on any new project to have six channels of surround sound out.
| | 00:29 | You need to set it to be however many channels of output you need.
| | 00:34 | So in this case, what I've done is I've clicked on the number of channels
that I want to feed to the output and make sure that both of them are
| | 00:41 | set to stereo. If I wanted to feed just a mono signal out, I'd set it
to Mono and select whether I've want it to be track one or track two.
| | 00:49 | These menus up here control which
sub mix the audio is going to go to.
| | 00:54 | These control how many the outputs you are going to have.
| | 00:58 | So it's important to pay attention to this because it defaults
to surround sound and that means that everything that you
| | 01:03 | export is going to have six tracks, four that have audio and four that
are just taking up tons of space and not carrying any audio signal.
| | 01:11 | With that said, we make sure that the number of tracks
that we're outputting matches what we think were outputting.
| | 01:18 | And having said that, the next step is how do we to
get it out of the system? To do that we go up to File.
| | 01:24 | If it's an audio file project, we Save,
| | 01:27 | but with a multitrack project, whether it's been
sent from Final Cut or whether it's something
| | 01:32 | we created multitrack from scratch, in both cases we export.
| | 01:37 | Now with the Export dialog, a whole new range of choices
confronts us, The first, as always, is we need to give it a name.
| | 01:44 | So I'll call this the Taj Final Mix.
| | 01:48 | And determine the place to save it on your system. My
recommendation is that you keep it in the same folder that
| | 01:54 | you're keeping the rest of your Final Cut project assets.
In other words, you keep it in the Project folder because
| | 02:05 | this is now going to become a permanent audio for your
Final Cut project and you want to keep up with everything else.
| | 02:05 | But for the purposes of this training I'm going to save it
to the desktop, because frankly, once this movie's over
| | 02:09 | I'm going to delete the audio so you have a
chance to create it yourself from the exercise files.
| | 02:15 | So I'm just going to save it to the desktop
because it's got the half-life of a fruit fly.
| | 02:19 | Now, once we given us a name and we've picked a
destination, now we've got these choices to look at.
| | 02:25 | A Master Mix: it will take all the tracks that you have in
your project and export them as a complete mix. That's normally
| | 02:31 | your best choice, but sometimes maybe you want to just export
a couple tracks or a sub mix or a buss. Well, you can select it.
| | 02:38 | How do you select it? Well, you select it by clicking on it. Which
ever ones are white are selected; whichever ones are not white
| | 02:45 | are not selected.
| | 02:46 | What happens if you wanted to export just say track one,
| | 02:52 | and you wanted to export just say this audio right here?
Well that's where a cycle region comes in. You draw cycle region,
| | 03:00 | which is your in and your out.
| | 03:02 | When there's no cycle region, the entire project will export.
When there is a cycle region, just the area contained
| | 03:10 | inside the cycle region will be exported.
| | 03:13 | But we'll get rid of that by typing Option + X because I don't
want to export just a piece of it. I want to export the whole thing.
| | 03:20 | So I could export selected tracks, and I could export selected
sections, but I want to export the works. So go back to Export,
| | 03:28 | give this a name,
| | 03:33 | we're going to do a final mix and not selected tracks,
| | 03:36 | we're going to do in AIF file. Why? Because it's staying on the
Macintosh, AIF is uncompressed, it's readable perfectly by Final Cut,
| | 03:44 | if I'm going to burn it to an audio CD,
the audio CD wants an AIF file.
| | 03:49 | There is only three uncompressed files here that
Final Cut supports: AIF, WAVE and Sound Designer 2.
| | 03:55 | If you're going out to a podcast or going to the web,
MP3 or AAC are good choices. I tend to prefer AAC.
| | 04:02 | I get higher quality and smaller file sizes. You can even create an
AC-3 file directly during export. Normally you'd have to take it
| | 04:09 | to Compressor to do that. Or you can send the file
directly to Compressor to give even more compression options.
| | 04:15 | Most of the time what I would do is I would export this is as an
AIF files so I've got a standalone complete file on my system and
| | 04:23 | then take that AIF file into Compressor.
| | 04:25 | Or, rather than do it as a single step,
| | 04:28 | I found that saving us in AIF file will be a whole lot
faster and Compressor can then run in the background.
| | 04:34 | Once you've determine your file format type,
you get to decide bit depth and sample rate.
| | 04:39 | It's going to normally default to either 16-bit 48K, or
| | 04:45 | it's going to default to a 32-bit float space. Make sure
that when you're outputting, if you're going into Final Cut
| | 04:51 | you want to set up to 16-bit 48K.
| | 04:55 | There are times where you'll want to create something different.
So either 16-bit 40 41 for an audio CD or 16-bit 48 for Final Cut.
| | 05:04 | Unless you been given very specific
instructions to create something different.
| | 05:08 | By default, Soundtrack doesn't do
anything after the file is exported,
| | 05:13 | but we can change its mind by going to after
export, send this final mix over to Final Cut
| | 05:20 | or send it to the File Editor.
| | 05:22 | Or send it to new tracks,
| | 05:24 | or you can run scripts. Remember our Soundtrack scripts that
we did all that time ago? Well those are our Soundtrack scripts.
| | 05:30 | I could take this file and run it against a script
or send it to iTunes or Logic or Emotion or WaveBurner.
| | 05:36 | I've got lots of different options, but in my particular
case, this is the finished soundtrack to my commercial so
| | 05:42 | I want to send it to Final Cut and watch what happens
when I do. I click send to Final Cut and I click Export.
| | 05:49 | It goes through and mixes my entire sequence much faster
than real time. It then saves it to disk, just as we've told
| | 05:56 | it to do, it fires up Final Cuts and now
it gives me an Import XML dialog that says,
| | 06:02 | "Here's what we're going send you, the Taj Final."
| | 06:05 | I don't want to create a new project. I want to pull
it into my Taj commercial so I set the destination,
| | 06:10 | a new project or one that's already open.
| | 06:12 | I can say what are my settings. I'm just going to have it
be default, because I don't want to have it create new video.
| | 06:17 | I just want to bring the audio in.
| | 06:19 | I want it to do all this stuff, Reconnect and Include Markers.
When I click OK, watch the browser. In two, one, whoof!
| | 06:26 | It imports it and creates a whole new sequence.
| | 06:31 | It takes that sequence, when I double-click it- there's my mix on A1 and A2.
| | 06:37 | And here's all my source audio on all the other tracks.
| | 06:41 | If I ever need to go back and re-mix, my source audio
remains in perfect shape, exactly as I sent the first time.
| | 06:50 | But notice that the visibility lights are turned off.
| | 06:52 | What this means is that I no longer here this audio. It's there
for position but not for playback. So now when I listen to it,
| | 07:00 | I just hear my final mix.
| | 07:03 | [Commercial plays: "Welcome to the Taj Cafe.
One of our 19 restaurants owned by our family."
| | 07:09 | "A lot of my customers have been wondering what a Tandoori oven looks
like. Let's go to the kitchen and we will see how we prepare it."]
| | 07:16 | So what we've done is we took our multichannel mix,
| | 07:19 | we exported it and by sending it to Final Cut when it's over,
| | 07:24 | we were able to have it created its own sequence,
| | 07:27 | saving all the original audio, which means if I
ever have to go back and remix, it's easy to do.
| | 07:33 | So to get our files out of Soundtrack,
| | 07:37 | if it's an audio file project, File, Save.
| | 07:41 | If it's a multi- track project, File, Export.
| | 07:46 | And if it's going back to Final Cut, be sure to send
the files to Final Cut after the export is complete.
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ConclusionGoodbye| 00:00 | Oh my goodness! What a lot of information we've had to cover!
| | 00:05 | Do you realize that there's more than 20 chapters of information
on more than 120 movies just to learn how Soundtrack Pro works?
| | 00:12 | How knew audio was so complicated?
| | 00:16 | Whew.
| | 00:17 | But Soundtrack Pro is an amazing program. It can do some
wonderful things and it can significantly improve the sound
| | 00:23 | of your mixes, if you give it a chance and take it for a spin.
I'm finding myself in it virtually every day and every day
| | 00:30 | I learn something new about what the program can do.
| | 00:33 | My hope is that you have had a chance to learn yourself and
feel much more comfortable in jumping into the middle and
| | 00:38 | starting to find your own way around. I want to
thank you for taking the time to watch this training.
| | 00:43 | My name is Larry Jordan.
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