IntroductionWelcome| 00:00 |
(MUSIC).
| | 00:04 |
Hi, I'm Scott Hirsch, and welcome to
Mixing a Short Film with Logic Pro.
| | 00:08 |
In this course, we'll explore a powerful
workflow for the audio of your short
| | 00:12 |
film, documentary or other multimedia
video project.
| | 00:17 |
I'll start by showing you how to export
audio from the Final Cut Pro video
| | 00:20 |
editing software, and how to get going
with the useful film and video specific
| | 00:24 |
template in Logic Pro.
I'll then, show you how to consolidate,
| | 00:29 |
edit and cleanup your dialog and sync
tracks using Logic's powerful editing
| | 00:32 |
tools and cross fades.
We'll see how to get rid of unwanted hums
| | 00:38 |
and broadband noise using such tools as
the built-in channel equalizer and
| | 00:43 |
iZotope RX 2 denoiser plug-in.
We'll then, look at techniques on how to
| | 00:49 |
use Logic's volume and plug-in automation
to balance and tonally shape your tracks
| | 00:53 |
to get the perfect mix.
When we're done, we'll have a completed
| | 00:58 |
mix to re-import to Final Cut Pro.
We'll be covering all these features.
| | 01:02 |
Plus, plenty of other tools and
techniques.
| | 01:04 |
Now, let's get started with mixing a
short film with Logic Pro.
| | 01:09 |
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| What you should know before watching this course| 00:00 |
The audio workflow and pathway from
Apple's video software, Final Cut Pro, an
| | 00:04 |
Apple's audio software, Logic Pro, has
become complex in recent software
| | 00:08 |
versions.
For this reason, it's good to speak
| | 00:11 |
briefly about the workflow we show in
this course.
| | 00:14 |
And generally, about getting audio to and
from Final Cut Pro and Logic.
| | 00:18 |
Parts of this course, specifically
mention a workflow from Final Cut Pro to
| | 00:21 |
Logic Pro and back.
While this is a widely used workflow,
| | 00:25 |
it's no longer available with the release
of Final Cut Pro 10.
| | 00:29 |
In this course, we're showing the latest
version of Final Cut that's compatible
| | 00:32 |
with Logic Pro, version 7.
This decision on our part was based on
| | 00:36 |
the fact that many professional video
editors are still using Final Cut Pro 7,
| | 00:39 |
and this workflow.
We hope in upgrades to come, Apple
| | 00:43 |
reintroduces a proper workflow from their
newest flagship Final Cut Pro, to their
| | 00:46 |
flagship audio software.
And we can adjust this course to reflect
| | 00:50 |
the workflow when it comes.
Until now, we're sticking at the most
| | 00:53 |
commonly used workflow within the Apple
software community.
| | 00:56 |
It's only optional that you're using
Final Cut Pro to benefit from this
| | 00:59 |
course.
We're working with OMF files to move
| | 01:02 |
audio between programs.
And in addition to Final Cut Pro, many
| | 01:05 |
other video editing software support
exporting to this file type.
| | 01:09 |
When we're done, we're simply exporting
audio files.
| | 01:12 |
So, any video editing program can
reimport these as well.
| | 01:15 |
So, the goal of this course is to show
you a possible workflow, but more
| | 01:18 |
importantly, to explore how to go about
finessing and enhancing the audio for
| | 01:21 |
your short film project.
I worked to design a course that uses
| | 01:25 |
some very powerful techniques in Logic
Pro, yet from the point of view that
| | 01:28 |
you're not a Logic Pro expert.
Or even necessarily, a frequent user of
| | 01:33 |
the software.
Here, in this course, I wanted to
| | 01:35 |
concentrate more on the approach and
technique of mixing audio for film and
| | 01:38 |
video.
Rather than, going through all the
| | 01:40 |
technical possibilities of the Logic Pro
software.
| | 01:43 |
I hope you enjoy it.
| | 01:45 |
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| Using the exercise files| 00:00 |
If you are a premium member of the
lynda.com online training library, you
| | 00:03 |
have access to the exercise files used
throughout this title.
| | 00:08 |
The exercise files have been compressed
to a zip file, called exercise files.
| | 00:12 |
Download and uncompress this file, and
you will see a folder called exercise
| | 00:15 |
files In this folder you'll see the
LogicPro project files that correspond to
| | 00:18 |
the chaptered name and the chapter end
files that show the final version of each
| | 00:21 |
chapter we've worked on.
You'll also see some folders containing
| | 00:27 |
other sound elements.
The media for these files is collectively
| | 00:30 |
shared in the audio files folder.
As long as you copy this entire folder to
| | 00:35 |
your work hard drive, and don't go moving
folders around, all files will link up.
| | 00:41 |
The first time you open it, or if
something gets moved, Logic Pro might ask
| | 00:44 |
you to relink the files.
In that case, you can click to locate the
| | 00:48 |
files yourself or if you're unsure where
they are, Logic will perform a search if
| | 00:51 |
you click this button.
Once the files are found, Logic will
| | 00:55 |
automatically relink the files as long as
the files are present on your drive.
| | 00:59 |
If you're a monthly or annual subscriber
to lynda.com, and you don't have access
| | 01:02 |
to the online training materials.
That's okay too.
| | 01:05 |
You can follow along with your own media.
Okay great!
| | 01:09 |
Let's get started on mixing a short film
with Logic Pro.
| | 01:12 |
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|
|
1. Getting StartedWhy use Logic Pro?| 00:00 |
Why do we want to take our audio out of
the video editing software we're working
| | 00:03 |
in, like Final Cut Pro?
It has the audio capabilities, right?
| | 00:07 |
This is a perfectly valid question.
In this movie I'll outline some key
| | 00:10 |
reasons why you'd want to go through the
trouble of exporting your audio tracks to
| | 00:13 |
Logic Pro.
First and foremost, Final Cut Pro is
| | 00:17 |
primarily a video editing program.
There are some audio features bundled in
| | 00:21 |
there, but the whole architecture of the
program is build around editing video and
| | 00:24 |
working with the visual aspects of your
short film.
| | 00:28 |
So, if you're willing to make the jump
and follow me through this course, you'll
| | 00:31 |
be able to take control of your audio and
use an appropriate tool for the job.
| | 00:36 |
Which in this case is Logic Pro.
It's a very powerful editing and mixing
| | 00:40 |
software that's designed from the ground
up to specifically deal with audio.
| | 00:45 |
When we're done we'll be able to export
our finalized mixed tracks or split out
| | 00:49 |
mixed stems back to Final Cut Pro.
I'm going to step into Logic Pro and I
| | 00:53 |
want to point out a few reasons why using
Logic Pro will benefit your work flow.
| | 00:57 |
This is a Logic project containing the
end result of the course, our mixed short
| | 01:01 |
film.
Logic gives you the ability to
| | 01:04 |
objectively listen to each of your source
audio files.
| | 01:08 |
Here we have a common dialogue situation
where there is a lavalier track as well
| | 01:11 |
as a camera mic or boom track.
In Logic we can objectively listen to
| | 01:15 |
each of the sources.
And zoom way in on the wave forms to make
| | 01:18 |
a better informed decision about what we
want to use.
| | 01:21 |
One or all of these in a combination.
We can also adjust the regions in a high
| | 01:25 |
resolution level.
Down to the sample.
| | 01:28 |
148 thousandth of a second.
This can help us work with things like
| | 01:32 |
phase issues.
Something we'll go over in this course.
| | 01:35 |
Now here in the Mix window, I'll show you
the Logic ships with an arsenal of
| | 01:39 |
extremely powerful real time processing
tools, like the Channel Strip settings
| | 01:43 |
and also Space Designer.
These tools can help you effectively
| | 01:48 |
sound design your film and also fix
problem areas.
| | 01:52 |
Plus the ability to add on additional
industry standard plugin bundles, such as
| | 01:58 |
isotopes, RX noise reduction, is huge.
Then when you're ready to mix your
| | 02:03 |
tracks, you get very high resolution and
flexibility with your volume and plugin
| | 02:07 |
automation.
Essentially every parameter can be
| | 02:09 |
automated to enhance your mix.
So whether you're a seasoned video
| | 02:14 |
editor, a beginning filmmaker, or a
budding sound designer, this course is
| | 02:17 |
for you.
We'll go through all you need to know to
| | 02:20 |
make it easy to integrate Logic Pro and
to mix your short film project.
| | 02:23 |
Trust me, you and your audience will
appreciate it.
| | 02:26 |
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| Initial setup and views| 00:00 |
Since Logic Pro is initially set up more
for music production, it isn't configured
| | 00:04 |
for audio video work right out of the
box.
| | 00:08 |
In this video, I'll go over a few
settings and ways to manipulate the view,
| | 00:11 |
so the look and functionality of Logic
Pro will be better suited to mixing a
| | 00:14 |
short film.
First, let's open up Logic Pro.
| | 00:18 |
By default, you get this New Project
dialogue window.
| | 00:23 |
We'll choose Empty Project for now.
Now in Logic, you always have to have at
| | 00:27 |
least one audio track, so for now let's
make one mono audio track, with the
| | 00:31 |
default input and output parameters here.
We don't need to see the library yet, so
| | 00:36 |
we can uncheck this box.
And the window we get brought into, is
| | 00:40 |
called the arrange window.
This is where we can see our tracks in
| | 00:43 |
the traditional timeline format.
It's also where we'll be doing the
| | 00:47 |
majority of our work in this course.
You'll notice on the left you can see a
| | 00:51 |
quick view of the main output fader.
Basically a volume control of our main
| | 00:55 |
stereo output and the fader volume
control for our one audio track we just
| | 00:59 |
created.
You'll always have quick access to your
| | 01:03 |
output fader and one selected track here.
Another very important window in Logic is
| | 01:08 |
called the mix window.
Press the buttons Cmd+2 on your keyboard
| | 01:12 |
to open up the mix window.
Here we see another view of the two
| | 01:15 |
tracks, plus one more master fader
control.
| | 01:19 |
You can close this window to return to
the arrange window, but it's good to know
| | 01:22 |
how to get to the mix window easily to
see all of you tracks together in a
| | 01:24 |
different way.
There are certain things you can do on
| | 01:28 |
your tracks that are only available in
this window.
| | 01:31 |
We'll go over those later in this course.
Now back in the arrangement lets set up
| | 01:35 |
some more views that are video friendly.
Up at the top of the timeline, we can see
| | 01:40 |
the global tracks.
If we open the disclosure triangle, we're
| | 01:44 |
seeing markers, signature, and tempo.
Most of these views are for music
| | 01:48 |
creation.
So let's customize global tracks to
| | 01:51 |
better suit our video workflow.
Go to the Local menu > View > Configure
| | 01:57 |
local tracks.
Now let's uncheck tempo and signature,
| | 02:03 |
and check video.
Leave markers, we'll need those, and
| | 02:07 |
we'll click Done.
Next, we'll configure some global and
| | 02:11 |
project settings to match our video
workflow.
| | 02:15 |
It's important to know that Logic Pro has
two sets of preference panels that you'll
| | 02:19 |
use.
One set is the main Logic Pro Prefs,
| | 02:22 |
which are global settings that remain
from project to project.
| | 02:26 |
And the other settings panel, called
project settings, which are specific to
| | 02:29 |
the project you're in.
Let's visit both of these.
| | 02:33 |
First go to File > Project settings >
Audio.
| | 02:37 |
This is the project settings that are
specific to the project that we're in.
| | 02:40 |
And let's change the sample rate to 48
Khz.
| | 02:44 |
It's the standard sample rate for video
post-production.
| | 02:48 |
Once you're here, you can tab across the
top to get to the other tabs within the
| | 02:51 |
project settings.
Let's go to Synchronization, and we'll
| | 02:55 |
choose 23.976 frames per second.
This is the frame rate of the video we'll
| | 03:00 |
be working on in this course, but you
should know you can go here when you need
| | 03:02 |
to change the frame rate for any other
project.
| | 03:05 |
Now, let's close the project settings.
Next I want to show you the global
| | 03:10 |
preferences, so go to Logic >
Preferences.
| | 03:13 |
For your reference, this is the global
preferences window and it controls the
| | 03:16 |
parameters across all of our projects.
Now let's go ahead and save this project.
| | 03:22 |
Let's go to File > Save As, and well call
it Logic Short Film Template.
| | 03:27 |
Let's keep Include assets checked, and
let's check Copy external audio file to
| | 03:33 |
project folder.
These selections here will keep our files
| | 03:38 |
well organized within one project folder.
Let's locate it to the desktop for now
| | 03:42 |
and click save.
Now if you notice in the transport down
| | 03:46 |
at the bottom of the arrange window.
We're still referencing bars and beats.
| | 03:50 |
These are musical time references.
Let's actually view Simty video timecode
| | 03:54 |
instead, since that's what our video will
be synced to.
| | 03:58 |
Right-click on the transport numbers, and
choose Big Simty display.
| | 04:03 |
Also, you can choose the giant Simty
display for a pop-up version of our Simty
| | 04:07 |
timecode.
Next let's make a few tracks.
| | 04:10 |
Click on the plus sign next to the global
tracks at the top.
| | 04:14 |
We'll type 11 to make 11 mono audio
tracks.
| | 04:17 |
Again, we'll deselect open library.
When we're done, we have 12 tracks, and
| | 04:22 |
we're well on our way to creating a great
audio for video template.
| | 04:26 |
Great.
These new settings we just changed are
| | 04:28 |
specific to this project we made.
Eventually, we'll be making our own
| | 04:32 |
template.
In the next movie, we'll further
| | 04:35 |
customize our logic for short film
project, and create a template that we
| | 04:38 |
can always use for audio, for video work
in Logic Pro.
| | 04:43 |
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| The power of the template| 00:00 |
The best way to organize a logic
procession for audio post-production, is
| | 00:04 |
to break up the sound elements into
stems.
| | 00:08 |
Think of a tree with multiple branches,
branching out further into stems.
| | 00:12 |
There's three main stems we'll designate.
Dialogue, where all your synced sound
| | 00:17 |
captured on the shoot will live.
The effect stem where any sound effects,
| | 00:22 |
fully or background sound will live.
And the third is music.
| | 00:26 |
Where the music tracks will go.
By routing the outputs of all of our
| | 00:29 |
tracks to these three categories, we'll
be able to organize and mix our video
| | 00:33 |
project in a very efficient way.
So let's designate these first 12 tracks
| | 00:40 |
as dialogue tracks.
we'll name them DIA, short for dialogue,
| | 00:45 |
one through 12.
Double-click the first track header and
| | 00:49 |
rename it DIA 1.
Type Cmd+2, to get to the mix window.
| | 00:55 |
Now here in the Mix window, drag a
selection around all of the audio tracks
| | 00:59 |
to select them all.
Double-click to highlight the name on the
| | 01:04 |
first track, then hit the Tab key, and
watch while the names of the rest of the
| | 01:07 |
tracks will follow suit with incremental
numbers.
| | 01:11 |
This is a great shortcut.
Keep in mind that these tracks we made
| | 01:15 |
are mono tracks.
They contain a single sound source,
| | 01:18 |
panned to the center.
This is actually perfect for dialogue
| | 01:22 |
sources.
Now make sure all the dialogue tracks are
| | 01:25 |
still selected.
Then we click in the Output tab here, on
| | 01:28 |
anyone of the tracks and change it to Bus
1.
| | 01:33 |
As you can see, all of the selected
tracks' outputs are now assigned to
| | 01:37 |
Output to Bus 1.
And Logic automatically made an auxiliary
| | 01:41 |
track with the input of bus 1.
This auxiliary track, won't contain any
| | 01:46 |
audio regions in its timeline.
But rather, it's mixing channel that all
| | 01:50 |
of our dialogue tracks will route
through.
| | 01:52 |
We can use a pathway called a bus as we
used bus one here, to route audio from
| | 01:56 |
our dialogue tracks to this auxiliary
track.
| | 02:01 |
We'll name this auxilariy track DIA stem
since it represents the output of all of
| | 02:05 |
our dialogue tracks.
Now we're going to do the same with our
| | 02:10 |
effects tracks.
Back in the arrange window, click to
| | 02:14 |
select the last dialogue track.
Then use the plus button at the top to
| | 02:19 |
add four mono tracks, then again to make
four stereo tracks.
| | 02:26 |
Now let's go back to the Mix window.
If you already have it open, you can use
| | 02:29 |
the Cmd and Tilde key, to toggle between
any open windows.
| | 02:34 |
Now in the Mix window, we'll name them
using the same method that we named the
| | 02:37 |
dialog tracks.
With all tracks selected, name the
| | 02:41 |
effects one track, then hit Tab Again,
with all the effects tracks still
| | 02:47 |
selected, set their outputs to Bus 2.
And name the auto created aux track
| | 02:54 |
effect stem.
Lastly, we'll do the same thing with
| | 02:58 |
music tracks.
These are all going to be stereo, since
| | 03:01 |
music sources are almost always stereo,
we'll make four stereo music tracks.
| | 03:09 |
Back in the Mix window, we'll name them
mus, short for music, one through four.
| | 03:18 |
And we'll route them the same way, using
Bus 3.
| | 03:22 |
We'll name the corresponding aux track
"musstem," short for music stem.
| | 03:27 |
Great.
Now, we've set up all of our tracks and
| | 03:30 |
three corresponding auxiliary tracks, as
our stem outputs.
| | 03:34 |
Once we're done, I like to color code the
tracks so I can keep track.
| | 03:38 |
Select the dialogue tracks and go to View
> Colors.
| | 03:43 |
We'll make the dialogue tracks dark blue.
Effects tracks will be colored pink.
| | 03:53 |
And music tracks will be yellow.
Now we have a working template, already
| | 03:59 |
named and routed perfectly as a starting
point for all our post-production
| | 04:03 |
projects.
We can save this as a template and be
| | 04:07 |
able to call it up whenever we start a
new logic project.
| | 04:11 |
Now I'll name this template short film
template.
| | 04:15 |
Now if I close this project and save it,
and then I go to File > New, to open up a
| | 04:21 |
new project.
You see the new project's template dialog
| | 04:28 |
box that we saw earlier only this time at
the bottom, there is a folder called my
| | 04:32 |
templates and here's the short film
template we just created.
| | 04:37 |
Now that we've gotten all the set up out
of the way, we can enjoy the benefits of
| | 04:40 |
the template we made every time we work
in an audio for video project.
| | 04:45 |
Keep in mind, you can alter and enhance
this template anytime you see fit and
| | 04:49 |
re-save it.
| | 04:51 |
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| Exporting audio and video from Final Cut Pro 7| 00:00 |
In this movie, you'll see us working on a
Final Cut Pro7 project.
| | 00:04 |
This Final Cut Pro project file, is not
included in the exercise files for this
| | 00:08 |
course.
But we're showing it here as a
| | 00:10 |
demonstration of the complete Final Cut
Pro to LogicPro workflow and back.
| | 00:15 |
If you own Final Cut Pro 7 software,
you're welcome to open up any Final Cut
| | 00:19 |
Pro 7 project and follow along with these
steps.
| | 00:23 |
As I also suggested in the What You
Should Know Before Watching This Course
| | 00:26 |
video, it isn't essential you have Final
Cut Pro 7 to take advantage of the
| | 00:29 |
concepts presented in this course.
So here in our desktop, we have our
| | 00:35 |
castles_fcp folder.
And inside there, we have a spot for our
| | 00:39 |
exports called toaudio.
And in those folders, we have a spot for
| | 00:43 |
our audio, and a spot for our video.
Back over in Final Cut, we've got our
| | 00:48 |
sequence.
We're just going to give it a quick
| | 00:50 |
listen to make sure it's all in sync.
| | 00:53 |
>> But the company is in free-fall, and you
want to take risk again.
| | 00:58 |
It's a creative approach.
| | 01:00 |
>> All right, that looks pretty good.
So first, we're going to export our OMF,
| | 01:04 |
that we'll be sending to Logic.
We'll go to File > Export, Audio to OMF.
| | 01:11 |
And here we've got a couple of options.
We want to leave our sample rate and our
| | 01:15 |
bit depth the same, but our handle length
will change.
| | 01:20 |
In this case you want to do ten second
handles, and then make sure you include
| | 01:24 |
cross fade transitions, levels.
But let's leave pan unchecked, and what
| | 01:28 |
the handle is, it just gives you a little
bit of heads and tails when the files get
| | 01:32 |
imported into Logic.
So we'll click OK, and we'll choose
| | 01:38 |
castles_fcp, to audio, audio.
Here's where we'll send our omf.
| | 01:44 |
We'll just double-check, and there's our
OMF.
| | 01:52 |
So back in Final Cut, we'll export our
video.
| | 01:54 |
And to do that, we'll just go to Export >
Quick-Time movie.
| | 01:58 |
Or the shortcut command for this is
Cmd+E.
| | 02:02 |
And make sure our video folder is
selected, and under include we want to do
| | 02:06 |
video and audio.
Make sure that make self-contained movie
| | 02:09 |
is checked, and we'll leave the setting
at current settings.
| | 02:13 |
because we're going to use a third-party
program, such as Compressor, or Adobe
| | 02:16 |
Media Encoder to compress this down to a
smaller file size.
| | 02:19 |
We'll hit Save and we'll sit here for
another four minutes.
| | 02:26 |
All right, so back to our desktop and
inside our video folder, we have our
| | 02:30 |
movie and we'll just give that a quick
double check.
| | 02:34 |
That looks pretty good and now once we
get this compressed to a smaller file
| | 02:38 |
size, we'll be ready to import it into
LogicPro to get to work on our sound.
| | 02:44 |
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| Importing into Logic Pro| 00:00 |
An OMF, or Open Media Framework file, can
transfer all the audio information,
| | 00:05 |
tracks, time code placement and edits
from Final Cut Pro to transfer it to
| | 00:09 |
Logic.
Once you have your properly exported OMF
| | 00:14 |
and the QuickTime reference movie on
hand, it's time to import them into
| | 00:18 |
Logic.
In this movie, we'll convert the OMF file
| | 00:22 |
into our existing Logic template, import
the reference movie, and make sure it's
| | 00:26 |
all in sync and ready to go.
Getting an OMF into Logic is a simple
| | 00:32 |
process.
With a Logic project already open, like
| | 00:35 |
the one we have here, titles 0105, we can
import the OMF file.
| | 00:40 |
And the new tracks contained in the OMF
will appear in our timeline.
| | 00:44 |
Notice that this current Logic project
uses the short film mixing template we
| | 00:48 |
made in our previous movies.
Select the last track, and then go to
| | 00:53 |
File > Import.
Select the OMF file, which is on the
| | 00:58 |
desktop, in our castles_fcp to Audio File
folder.
| | 01:05 |
Logic will then ask you for a location to
save the audio files.
| | 01:09 |
Let's chose the Audio Files folder of the
Current Project folder.
| | 01:13 |
The next part may take a couple of
minutes for Logic to make over views of
| | 01:16 |
all of the regions it brings in to the
Logic project.
| | 01:19 |
And once the timeline's populated and the
region overviews are drawn, we'll zoom
| | 01:24 |
out a little bit.
We can use Ctrl + Opt and left arrow,
| | 01:28 |
which is the default key command Ctrl +
Opt, left and right arrow for horizontal
| | 01:32 |
zooming and logic.
Now, you'll notice half the files are
| | 01:37 |
grayed out.
That's okay.
| | 01:39 |
Logic just had its song end defined too
early in the timeline.
| | 01:43 |
Up at the top here, drag the little
rectangle in the timeline ruler to well
| | 01:47 |
past the end of the movie and those
regions will no longer be grayed out.
| | 01:53 |
Next, we'll name these newly imported
tracks OMF 1 through 12.
| | 01:58 |
Toggle to the Mix window, Cmd + ~, select
all the new tracks by dragging a
| | 02:03 |
selection around them, and name the first
OMF track, OMF Space 1.
| | 02:09 |
Then remember, we can hit the Tab key and
the rest of the tracks will auto-name
| | 02:13 |
with incremental numbers.
Let's color code these tracks brown.
| | 02:23 |
Good.
We now have all the OMF audio into our
| | 02:26 |
project.
Now, we need to import the video file.
| | 02:30 |
Open up the global video track and select
Open Movie.
| | 02:35 |
Let's choose the castles.mov movie from
our to Audio folder in the Video folder
| | 02:41 |
in here.
Now, you see the movie opens up into the
| | 02:45 |
timeline, and a big video window appears.
This video window can be re-sized by
| | 02:50 |
right-clicking anywhere on the video
window or dragging its edges to be
| | 02:53 |
smaller.
Alternatively, you can have a mini video
| | 02:58 |
window at the top left of the arrange
window.
| | 03:01 |
Just open the disclosure triangle where
it says Movie.
| | 03:05 |
Now, notice something interesting.
If we hit Return to go to the beginning
| | 03:08 |
of the timeline, you'll notice that the
beginning of the movie's burned and time
| | 03:12 |
code starts at time code hour
00:59:30:00.
| | 03:15 |
And our Logic timeline in our current
project begins at hour 1:01:00:00 time
| | 03:23 |
code.
We'll need to compensate to make our
| | 03:28 |
timeline match the video's timeline.
So, to do this, we'll go to Project
| | 03:35 |
settings, Synchronization and change bar
1, 1, 1, 1 to start at 00:59:30:00, which
| | 03:43 |
is actually the starting time of the
quick time movie.
| | 03:50 |
Then, we'll move the video back so it
actually starts at bar 1, 1, 1, 1, 1.
| | 03:57 |
That should sync our timeline and the
video up.
| | 04:00 |
Double-click the smaller video window to
open up a bigger window, and I'll hit
| | 04:04 |
Play and Stop, and the time code should
match wherever we stop.
| | 04:09 |
Also, to double check our time code at
time code, 00:59:58:00, which is exactly
| | 04:15 |
2 seconds before time code hour 1, there
is what we call a 2 pop, which is a
| | 04:20 |
simultaneous blip on the sound track and
a corresponding one frame of video.
| | 04:30 |
This is placed here on purpose so that
when we do this process, we can ensure
| | 04:33 |
there is sync between the video track and
the audio tracks.
| | 04:38 |
Now that we have synced both the video
and audio using our settings and
| | 04:41 |
synchronization, these should line up.
And, after zooming way in we see that
| | 04:47 |
they do, we are now in sync.
There is one other way to check the OMF
| | 04:53 |
sync against the original movie sync, and
that's to turn up the reference audio on
| | 04:57 |
the movie file.
So now, we're hearing the actual original
| | 05:02 |
sound from the QuickTime movie super
imposed against the OMF audio in our
| | 05:05 |
Logic Project.
Now, if you hear just a little bit of
| | 05:09 |
phasiness against the Logic output in the
QuickTime, we're as close as we can get
| | 05:13 |
to being in sync.
| | 05:16 |
>> A big risk for you on this Columbia
Project.
| | 05:19 |
The firm could be on the line here.
6:00 p.m.
| | 05:23 |
tonight, simple deadline, beat it.
| | 05:29 |
>> If we were to hear an echo or delay, we
would then determine that we're actually
| | 05:32 |
a frame or more out of sync, which would
be bad.
| | 05:36 |
But if you hear just that slight phasing,
that means you're good.
| | 05:39 |
Great.
Now that we're in sync, we can perform a
| | 05:42 |
very useful function that Logic provides
to video.
| | 05:45 |
We can use the Detect Cuts feature.
This will actually place a visual marker
| | 05:49 |
on all the edit points in the movie.
It can be very useful when we're doing
| | 05:55 |
our sound work in Logic.
So now, once we've detected the cuts,
| | 05:59 |
Logic placed a marker on every cut.
And we can use the key Cmd + Ctrl and
| | 06:03 |
decimal point on the numeric keypad to
select and go to the next cut as we move
| | 06:07 |
through our Logic project.
Now, as you've seen importing the OMF and
| | 06:13 |
QuickTime video into Logic is a crucial
step, and once you do a few it becomes
| | 06:16 |
second nature.
And now, we're quickly on our way to
| | 06:20 |
shaping up our film's sound.
We've got everything in sync and we're
| | 06:24 |
ready to go.
| | 06:25 |
| | Collapse this transcript |
|
|
2. Editing Dialogue and Location SoundFirst steps| 00:00 |
Now that we've successfully imported our
media from Final Cut Pro to Logic.
| | 00:05 |
Its time to start sifting through the
material on these tracks and breaking out
| | 00:08 |
these regions to their appropriate stem
tracks.
| | 00:12 |
In this movie, we'll look at the best way
to stiff through these tracks keeping
| | 00:15 |
only what's useful and organizing as we
go.
| | 00:18 |
Now in addition to the tracks we imported
via the OMF, we have all these empty
| | 00:21 |
tracks we made in our short film
template.
| | 00:25 |
The next steps are really where we start
getting our hands dirty.
| | 00:27 |
We're going to start going through all
the regions from the original OMF tracks,
| | 00:31 |
and moving them up to the appropriate
dialogue, effects, or music tracks.
| | 00:36 |
You'll be required to listen and make
some quality judgments about the audio as
| | 00:40 |
you go.
Most of this material is going to end up
| | 00:43 |
in the dialogue sync tracks, since there
hasn't been a bunch of effects or music
| | 00:46 |
added yet to the movie.
But within the dialogue sync tracks we're
| | 00:50 |
going to have to come up with a strategy
to keep things organized.
| | 00:54 |
The first rule of thumb is that if
there's nothing in an audio region, or if
| | 00:57 |
it sounds like complete garbage, we can
ignore it.
| | 01:00 |
The first two clips on tracks 1 and 2
look like they have nothing on them since
| | 01:04 |
the wave form looks non-existent.
Let's confirm this by soloing those
| | 01:10 |
regions and listening to them.
Select it and type the s key.
| | 01:15 |
We can solo both these regions by
dragging a selection around them.
| | 01:19 |
Then, to move the play head to the
selected region, Click the set locators
| | 01:23 |
button at the top of the arrange window.
This will set locators and loop playback
| | 01:29 |
of the currently selected clips.
Now we do indeed hear nothing so let's
| | 01:35 |
get rid of these.
We'll type delete to remove regions from
| | 01:38 |
the arrange window.
It is common when you get an OMF to
| | 01:41 |
receive some dead regions or regions from
mic sources that are not usable as we'll
| | 01:45 |
see.
Next we have 6 regions on the tracks
| | 01:49 |
below.
One is a voice-over, the female reporter
| | 01:52 |
voice.
And the other is the Mr Dalton talking
| | 01:55 |
off screen.
Let's solo these and listen to them.
| | 02:01 |
>> Sensation no more.
| | 02:03 |
Once award winning architect fails to
deliver on this downtown.
| | 02:09 |
>> Joseph is our most gifted architect.
| | 02:10 |
He takes risks, we all know it.
| | 02:12 |
>> Now when we examine these regions further
by zooming in both horizontally, Ctrl
| | 02:17 |
option right arrow, and vertically, Ctrl
option down arrow, we'll notice that the
| | 02:21 |
clips are actually the same thing
duplicated.
| | 02:26 |
You see how the wave forms on both tracks
are identical?
| | 02:30 |
Having duplicated regions not only makes
things louder, but it also makes things
| | 02:34 |
more confusing.
We have more to deal with.
| | 02:38 |
So in this case, we'll delete the bottom
three regions.
| | 02:41 |
Now Press the S button to release the
regions solo, and Click the cycle button
| | 02:45 |
down in the transport window to release
the loop.
| | 02:50 |
Another very crucial setting that we have
to ensure is set here that leads to
| | 02:55 |
moving regions up and down tracks in the
timeline.
| | 02:59 |
Lets go to the Logic Pro preferences
general settings to enter the global
| | 03:04 |
preferences.
Then Choose the Editing tab.
| | 03:08 |
Now make sure that the limit dragging in
one direction for a range is checked.
| | 03:14 |
When this option is checked and you drag
a clip from track to track, it keeps its
| | 03:18 |
position horizontally.
And without doing this you're in danger
| | 03:22 |
of sliding clips inadvertently out of
sync as you move them.
| | 03:26 |
Great, so now we'll drag the three top
regions we had here onto the dialogue
| | 03:30 |
stem tracks.
Let's just decide right now that DIA
| | 03:34 |
tracks 11 and 12 will be used for
voice-over and any off-screen or replaced
| | 03:39 |
dialogue for the remainder of the movie.
So I'll drag the regions to these
| | 03:44 |
respective tracks.
Now, as you can see, you have a little
| | 03:47 |
bit of work in front of you.
Each region in the movie has to be gone
| | 03:51 |
through meticulously, listened to,
categorized.
| | 03:55 |
And placed on a track that makes sense
for its sound.
| | 03:58 |
So let's do a couple, for example.
Let's listen to the first line of
| | 04:02 |
dialogue.
It's our character, Mr Dalton, and he
| | 04:04 |
asks, did you finish it?
Let's take a listen.
| | 04:09 |
>> Did you finish it?
| | 04:12 |
Did you finish it?
| | 04:12 |
>> Now you'll notice that some dialogue like
this example actually has more than one
| | 04:16 |
mic source.
A lavalier attached to the actor's one.
| | 04:21 |
A boom mic is another one.
And the third one is perhaps the camera
| | 04:24 |
mic.
Listening to the regions soloed one after
| | 04:27 |
another, we can demonstrate this.
| | 04:30 |
>> Did you finish it?
Did you finish it?
| | 04:31 |
Did you finish it?
| | 04:32 |
>> Tracks one and two sound pretty clean,
although different.
| | 04:35 |
One is most likely the boom mic.
Two is the lavaliers, and it's a little
| | 04:41 |
more boomy, and more close sounding.
And three is sort of a distant maybe
| | 04:51 |
camera mic with a lot of room sound in
it, or it could possibly be the other
| | 04:54 |
actors' lavalier.
Now, here's where we need to make a snap
| | 04:58 |
judgment.
The first two are very usable, and they
| | 05:01 |
sound okay.
It's actually too early to decide which
| | 05:03 |
one we want to go with, the boom mic or
the lavalier, or maybe a mix of both of
| | 05:06 |
them.
But it's pretty clear here that the third
| | 05:10 |
camera mic is not useful.
So let's mute it and not move it up to
| | 05:14 |
dialogue tracks.
May delete it later but at least for now
| | 05:18 |
we can type m to mute it, that way we'll
leave it in the OMF tracks and we can
| | 05:21 |
move on.
The other 2 regions we'll move up to
| | 05:26 |
dialogue tracks 1 and 2.
For this scene we'll always keep Mr
| | 05:30 |
Dalton's dialogue boom region on track 1,
and his lavelier on track 2.
| | 05:35 |
So for now our task is to break up usable
dialogue tracks and keep them consistent
| | 05:39 |
from clip to clip, on the same tracks for
the entire scene.
| | 05:43 |
So when we hear this clip, and Dalton's
next clip, you know I'm taking a big
| | 05:47 |
risk.
Let's listen to that.
| | 05:50 |
>> You know I'm taking a big risk putting
| | 05:52 |
you on this Colombian, you know I'm
taking a big risk.
| | 05:57 |
>> We can tell they are both the same
| | 05:59 |
sources so we'll pull them up onto the
same tracks.
| | 06:03 |
We'll drag them to tracks 1 and 2, the
boom and the(UNKNOWN) .
| | 06:08 |
>> You know I'm taking a big risk putting
| | 06:10 |
you on.
| | 06:11 |
>> Now the first part of the scene, after
some listening and moving clips around,
| | 06:15 |
ended up like this.
I'm going to open up, another project
| | 06:20 |
with the scene finished.
As you can see in this new project,
| | 06:23 |
there's a lot of muted clips that didn't
get used in this scene and the best
| | 06:26 |
sounding sources have been placed on the
appropriate dialogue tracks.
| | 06:31 |
It's a far from perfect edit, but it's a
really good start.
| | 06:35 |
And much more easy to deal with than the
mess we had in the original OMF tracks.
| | 06:39 |
And we'll refine this further as we go
through the course.
| | 06:42 |
Now obviously you can't have a track for
every character in the movie.
| | 06:46 |
So the convention going forward is that
you use the top few tracks for the first
| | 06:50 |
scene.
In this case maybe tracks 1 through 4.
| | 06:54 |
And then in the next scene we'll use the
next few tracks.
| | 06:56 |
In this case maybe tracks 5 through 9.
Then when we get to the scene after that
| | 07:02 |
we'll return to the first tracks, maybe 1
through 4.
| | 07:06 |
This is referred to as checker boarding
through the dialogue tracks.
| | 07:10 |
So now, as you can see, we have some work
to do on this movie.
| | 07:13 |
When you open up the end version of this
project, you can see an example of how
| | 07:16 |
our timeline might look after all the
work is done breaking out our OMF tracks.
| | 07:22 |
| | Collapse this transcript |
| Dialogue editing: Part one| 00:00 |
At this stage of our project, we have
taken the time to break out all the OMF
| | 00:04 |
regions into our template tracks.
As you see here we've narrowed our
| | 00:08 |
session down to only the necessary
regions, and they're all neatly organized
| | 00:12 |
in the timeline.
They're checkerboarding back and forth in
| | 00:15 |
the dialog tracks between scenes.
In this movie we'l explore some
| | 00:19 |
techniques that will help finasse these
newly organized regions into coherent
| | 00:23 |
dialogue and sync tracks, that play
seemlessly though the scenes of our film.
| | 00:28 |
The first thing we should do here, is get
rid of the OMF tracks and regions we
| | 00:32 |
didn't use from the original OMF import.
Now remember it's good to have some
| | 00:36 |
previously saved version of these tracks,
in case we need to get back to them.
| | 00:41 |
But for now, in the sake of trimming down
our track size, we'll delete these from
| | 00:44 |
this project.
Type Cmd + 2 to enter the mix window, and
| | 00:48 |
we'll drag a selection around all of the
OMF tracks, and we'll type the delete
| | 00:53 |
key.
And, you'll get a warning that these
| | 00:56 |
tracks are used in our range window.
Click delete anyway, and move on.
| | 01:01 |
OK now, back at the arrange window, we
see these tracks now have no output.
| | 01:05 |
Again, we can choose to leave them here,
but we're going to delete them.
| | 01:09 |
One thing I do want to to grab before
deleting is the two pop region.
| | 01:13 |
Click on the last track, MUS4, and let's
make a new track just specifically for
| | 01:18 |
tones.
And we'll name it tones, and we'll drag
| | 01:23 |
one of the two pop regions, those little
blips, right into that track.
| | 01:28 |
Now we can safely delete the OMF tracks.
Select the first one and type delete.
| | 01:34 |
You'll get warnings about there being
regions on the tracks, Keep typing delete
| | 01:37 |
and okay until they're all gone.
Alright, now for some dialogue editing.
| | 01:42 |
This second full scene in the film
starting at scene 30 in our markers list
| | 01:46 |
is a standard dialogue track layout,
which means on the top track, dialogue
| | 01:50 |
six, I've edited just the boom microphone
source.
| | 01:57 |
Both actors are picked up by the boom,
and by far the most natural sound, but
| | 02:01 |
you can hear a bit of the room in it.
The two tracks below are the two lavalier
| | 02:06 |
tracks for each actor.
The top one in dialogue 7 is the
| | 02:09 |
assistant character's laugh, and dialogue
eight contains the young architect
| | 02:13 |
characters laugh.
We'll eventually use these regions to
| | 02:17 |
fill in the sound of the actors against
the boom track above, we'll use them only
| | 02:21 |
when they speak.
The first order of business is to clean
| | 02:25 |
up the boom track's edit, and make sure
it's seamless on its own without any
| | 02:29 |
skips or bumps.
So let's solo the regions, and this time
| | 02:33 |
we'll solo the whole track, not
individual regions, by clicking the S
| | 02:37 |
button in the track header.
That way the whole track is so low not
| | 02:41 |
any individual regions.
Now, let's make sure the editing mode
| | 02:45 |
called the Drag mode in Logic Pro up on
the right here, is set to no over lap,
| | 02:50 |
this will make moving regions act in a
way that's useful for the kind of editing
| | 02:54 |
we're about to do.
Now there's some editing tools we'll go
| | 03:00 |
over here.
The first tool is the trimmer tool, which
| | 03:04 |
becomes active at the bottom edge of
regions if we're using the main pointer
| | 03:08 |
tool.
You might have to zoom in a little to see
| | 03:11 |
this.
Now at the top edge of regions, we get
| | 03:14 |
the trimmer slip tool, which rolls the
edit between regions if they're touching.
| | 03:20 |
Let's demonstrate the trimmer here on
this clip where the assistant says, well
| | 03:25 |
6 p.m.
| | 03:27 |
>> Well.
| | 03:28 |
>> Now this line is off camera.
We decided to keep just the laugh, but
| | 03:32 |
lose the line, well.
So we can use the Trimmer slip tool to
| | 03:36 |
remove it and drag in the preceding shot.
| | 03:39 |
>> Now let's take a listen.
(SOUND)
| | 03:45 |
>> 6:00 p.m.
| | 03:46 |
>> Okay that worked just fine, but there is
| | 03:48 |
a little talking from the preceding
scene.
| | 03:52 |
Your first instinct might be just to cut
that out, but remember our goal is to
| | 03:57 |
make it seamless here so there can be no
dropouts.
| | 04:03 |
So we'll have to fill this in with
actually some room tone from somewhere
| | 04:07 |
else in the scene.
We can select an empty area, such as
| | 04:10 |
right before the clip where we were
looking.
| | 04:13 |
To do this hit Escape to open our tools
palette, this is a good way to get to see
| | 04:17 |
all of our tools and choose them.
Now make sure the track is selected, and
| | 04:21 |
choose the Marquis Tool which is the plus
button tool.
| | 04:25 |
With a marquis tool, select an area of
room tone, just room tone no talking, and
| | 04:30 |
type Cmd+C to Copy it to the clip board.
Next, we can make a selection with the
| | 04:37 |
marquis tool just exaclty where we want
to paste it, and this time, type Cmd+V.
| | 04:43 |
You may need to use the tremor tool after
that just to finesse the edit a little
| | 04:51 |
bit.
6:00 p.m.
| | 04:54 |
(SOUND) Great, now let's take a listen.
6:00 p.m.
| | 04:59 |
(SOUND) Okay, good, that fixed the edit.
Next we want to make sure that every edit
| | 05:06 |
has at least a tiny crossfade.
Again, to avoid any bumps in the road, so
| | 05:11 |
that it goes seamlessly from one cut to
the next.
| | 05:15 |
There's a quick way to batch fade a group
of regions.
| | 05:17 |
Let's select all the boom track regions,
with the exception of the last region.
| | 05:22 |
We're going to create a crossfade between
all these regions, so the last region has
| | 05:26 |
nothing to crossfade itself into, so
we'll leave that one unselected.
| | 05:31 |
Now, in the Inspector, on the left hand
side over here, open the disclosure
| | 05:36 |
triangle where it says 24 selected, this
is our object parameters box.
| | 05:43 |
And then you can go down to where it says
fade, and click equal power cross fades
| | 05:48 |
and drag up to a value of one, that's one
millisecond.
| | 05:53 |
You should see crossfades between every
region now in white in the arrange
| | 05:57 |
window.
These cross fades can be adjusted
| | 06:00 |
individually, either with the inspector
or with the fades tool, if you hit Escape
| | 06:04 |
and you choose the fades tool.
So now we'll continue to work through the
| | 06:11 |
boom mike in this scene and all scenes,
checking each edit and making crossfades
| | 06:14 |
over each one.
We'll also be Copying and Pasting room
| | 06:18 |
tone where necessary, to make it as clean
as possible.
| | 06:21 |
The end version of this exercise file
shows the end result of all this work.
| | 06:27 |
| | Collapse this transcript |
| Dialogue editing: Part two| 00:00 |
We're continuing our dialog edit here for
this scene in the office.
| | 00:04 |
They've gone through and made a clean
boom track, and now we'll explore some
| | 00:07 |
techniques for the lavalier tracks, which
we plan to blend into the boom track to
| | 00:10 |
make it a little more solid sounding.
Lavalier mics are tricky the need to be
| | 00:15 |
brought in and out from the boom track
unnoticed so fading in and out of them
| | 00:19 |
will eventually be a necessity.
In addition, we need to talk about the
| | 00:24 |
negative effect blending two microphones
can have on the sound.
| | 00:29 |
Because the sound is hitting the mics at
slightly different times in space, the
| | 00:33 |
closest mic, in this case the lavalier
mic, is receiving the sound slightly
| | 00:36 |
before the boom mic which is a little
farther away.
| | 00:41 |
Technical term for this is that the mics
are slightly out of phase from one
| | 00:45 |
another.
Let's solo track six to hear the
| | 00:50 |
architect's first line on the boom only.
| | 00:57 |
>> Is he sending you in here with
scripted-up dialogue and everything?
| | 01:01 |
>> It sounds okay by itself.
| | 01:03 |
Now, let's listen to the same dialogue
from the lav track only.
| | 01:06 |
Let's solo this and listen.
| | 01:08 |
>> Is he sending you in here with scripted
out dialogue and everything?
| | 01:17 |
>> Okay it sounds different, but it sounds
| | 01:19 |
okay.
Now let's listen to both tracks blended
| | 01:23 |
together.
| | 01:24 |
>> Is he sending you in here with scripted
out dialogue and everything?
| | 01:33 |
>> And this sounds kind of hollow, right?
| | 01:36 |
This is due to a phase issue between the
microphones.
| | 01:39 |
The solution is to look closely at the
wave forms, and line them up together
| | 01:44 |
better so they're more in phase.
This is one of those tasks that you need
| | 01:49 |
an audio system like logic pro to
accomplish since final cut doesn't get
| | 01:53 |
this fine of resolution.
So let's go into the finest editing mode,
| | 01:58 |
up in the snap menu.
Choose samples.
| | 02:02 |
This will give us the finest resolution.
Now, we'll pull the dialogue eight track
| | 02:07 |
right up next to dialogue six.
This is the lavanliere right next to the
| | 02:11 |
boom track.
Now, you want to zoom in, so you can see
| | 02:16 |
the peaks of the wave forms.
And you can see here, they're a little
| | 02:19 |
off from one another.
So with the pointer tool, slide the
| | 02:23 |
bottom region ever so slightly until its
wave forms line up with the top region.
| | 02:29 |
Good.
Now that we've lined these up, these
| | 02:33 |
regions should be in phase.
Now let's zoom out and take a listen to
| | 02:38 |
our work.
| | 02:40 |
>> Is he sending you in here with scripted
out dialogue and everything.
| | 02:47 |
>> Now as you can hear it's much better
| | 02:49 |
sounding it's actually worth it to mix
these two regions together whereas before
| | 02:52 |
it just sounded like hollow mess so any
time you have to use two microphone
| | 02:55 |
sources.
You have to be aware that there might be
| | 02:59 |
this kind of phase issue at play.
Okay, now to finish up, we just need to
| | 03:03 |
fade in and out of these regions to make
it seamless against the boon track.
| | 03:08 |
We'll use the fade tool to drag a small
fade in and out of the region.
| | 03:16 |
We'll continue using these methods to
complete the lavalier mike edit for this
| | 03:20 |
scene.
| | 03:21 |
| | Collapse this transcript |
| Fixing hum problems with processing| 00:00 |
We're now going to take a look at some
noise problems you might encounter when
| | 00:04 |
you're editing your dialogue tracks.
Continuous tonal noise problems, like a
| | 00:09 |
refrigerator, or a machine based hum, are
common but sometimes, the easiest type of
| | 00:14 |
noise to fix.
In this movie, we're going to look at
| | 00:18 |
removing a hum from a scene using an
equalizer plugin.
| | 00:22 |
On dialogue track three in this scene, Mr
Dalton is sitting at his desk.
| | 00:27 |
There is no dialogue here, but we'd like
to preserve the sounds of his movements.
| | 00:31 |
Unfortunately, there's a rather annoying
hum that makes the scene kind of hard to
| | 00:40 |
watch.
(SOUND) Luckily, we can use an equalizer
| | 00:46 |
to notch out the offending frequency and
save the day.
| | 00:52 |
We'll use the Logic Channel EQ as a real
time plugin.
| | 00:58 |
With track three selected, click in your
Insert Column on the track in the
| | 01:02 |
Inspector on the left and locate the
Channel EQ.
| | 01:07 |
This is a real-time plugin, so we can
move the controls and we'll hear instant
| | 01:12 |
results.
First, we need to locate the audio
| | 01:16 |
frequency at which the hum is active.
Click set locators to set a playback area
| | 01:23 |
around the regions.
Next, let's go the second set of settings
| | 01:28 |
on the EQ and turn the gain up all the
way.
| | 01:33 |
This is one of the four bell shaped or
parametric bands on this multiband EQ.
| | 01:40 |
Next change the q value to the highest
until you get a nice narrow band.
| | 01:47 |
Now is the fun part, while playing the
clip start sweeping the freqency setting
| | 01:51 |
until you hear the hum get louder.
Let's try this.
| | 01:57 |
(SOUND) Now as you can hear, it got
louder around 120 hertz.
| | 02:11 |
We could even type in 120 in this field
to be more precise.
| | 02:15 |
Great, now that we've found the offending
hum we can simply pull the EQ gain down
| | 02:20 |
all the way to minus 24DB.
One other thing we want to do in the
| | 02:25 |
channel EQ is to engage the high pass
filter, that's the one on the far left
| | 02:29 |
here.
This cuts out any low frequencies and
| | 02:33 |
allows all high frequencies to pass.
If we set this control to around 75
| | 02:38 |
hertz, that'll be good at removing any
low frequencies we don't want in this
| | 02:42 |
scene in addition to the hum we've
already removed at 120 hertz.
| | 02:47 |
Let's take a listen after we've done
this.
| | 02:50 |
Now as you can hear the hum has been
removed and we were able to salvage this
| | 02:59 |
clip.
But we're not done quite yet.
| | 03:05 |
Remember, this is a real time plugin and
we don't want this to effect every clip
| | 03:08 |
on this track for the whole movie.
So let's actually render the effect to
| | 03:13 |
this clip.
With the regions still selected, right
| | 03:17 |
click on one of them and choose bounce in
place.
| | 03:21 |
The bounce regions in place dialogue will
appear, now, we can name them Dolton EQ.
| | 03:27 |
We have to put it on a new track for now,
and let us leave the original source
| | 03:31 |
regions muted.
We will leave all the other settings,
| | 03:35 |
click OK to perform the bounds.
There we go, we have a new track with the
| | 03:41 |
rendered regions in there.
We can keep the old ones or we can just
| | 03:46 |
drag these regions up there and delete
the track and don't forget to remove the
| | 03:50 |
EQ setting on the real-time EQ.
Clicking here just to choose no plug-in.
| | 03:57 |
Now you've got some rendered regions with
our EQ that remove the hum.
| | 04:01 |
You can use this kind of eq processing to
avoid any continuos hum like sound on
| | 04:06 |
clips you encounter in the future.
| | 04:10 |
| | Collapse this transcript |
| Fixing broadband noise problems with processing| 00:00 |
Broadband noise such as wind on the beach
is much more difficult to remove from
| | 00:05 |
dialogue tracks than hum, for example.
That's because unlike a hum, the
| | 00:10 |
offending sound is scattered all over the
frequency spectrum.
| | 00:14 |
And not just centered in one place.
In this movie we'll explore how to use a
| | 00:19 |
noise reduction tool like Isotopes RX
Denoiser in Logic Pro to help alleviate
| | 00:24 |
broadband noise issues.
The beach scene is very noisy, and it's a
| | 00:30 |
ripe candidate for dialogue replacement,
which has actually been recorded.
| | 00:35 |
We have it muted down here in track 11
below.
| | 00:38 |
Even though we might end up using the
Dialogue Replacement, we'll still need to
| | 00:43 |
hear the original dialogue as cleanly as
possible to sync it up.
| | 00:48 |
Denoiser is a plugin made by the company
Isotope, and it's part of an affordable
| | 00:52 |
package called RX2 that you can add to
Logic Pro.
| | 00:56 |
We'll be using RX Denoiser on this region
we have hi-lighted.
| | 01:01 |
Let's take a listen to it.
(SOUND)
| | 01:03 |
>> So, you got a design for me?
| | 01:07 |
>> Yeah, I think I do.
| | 01:10 |
>> Good.
| | 01:11 |
>> Now, let's open Denoiser from dialogue
| | 01:15 |
track three.
It's in Inserts >Audio Units >Isotope
| | 01:22 |
>Denoiser >Mono.
Next we'll change the algorithm mode to
| | 01:28 |
Type D.
It's the best sounding, yet slowest
| | 01:31 |
option.
The way denoising software works, is that
| | 01:35 |
you must first isolate a piece of the
region with only the noise.
| | 01:40 |
And make the plugin learn the noise
print.
| | 01:43 |
So let's create a playback area where no
dialog is taking place.
| | 01:47 |
You can arrange the locators to create
that and while this playback region is
| | 01:52 |
looping, click Learn.
Great.
| | 01:59 |
Now we've stored the noise profile or the
noise print.
| | 02:03 |
Next we'll select the entire region we
want to noise reduce by selecting it and
| | 02:08 |
choose Set Locators.
Let's take a listen.
| | 02:15 |
>> So, you got the design for me?
| | 02:20 |
>> Yeah, I think I do.
| | 02:24 |
>> Good.
| | 02:26 |
>> So.
| | 02:27 |
>> Now as you heard it's pretty good right
| | 02:29 |
out of the box but I did hear a little
artifact on some of the dialogue.
| | 02:34 |
This is always the trade off with noise
reduction software if you push them to
| | 02:38 |
far the stuff you want to keep can start
to sound weird.
| | 02:42 |
>> So let's back off the noise reduction
| | 02:44 |
slider a little bit to eight and take a
listen again.
| | 02:49 |
>> So, you got a design for me?
| | 02:53 |
>> Yeah, I think I do.
| | 02:58 |
>> Good.
| | 03:00 |
>> So.
| | 03:01 |
Okay, that sounds pretty good.
Now we want to bounce this region in
| | 03:05 |
place to print the noise reduction to the
region.
| | 03:09 |
Remember, to bounce a region in place,
just right-click on the region and choose
| | 03:13 |
Bounce in Place.
You can't really use noise reduction in
| | 03:17 |
real time because the latency is very
big, especially when you're using the
| | 03:20 |
algorithm mode Type D.
So there's a simple demo on using noise
| | 03:25 |
reduction plugin in Logic Pro.
Remember the key is to get a good sample
| | 03:29 |
noise print to work from.
We'll repeat this process on the clips in
| | 03:33 |
the beach scene, and you can see the
results in the end version of this
| | 03:37 |
Exercise file.
| | 03:39 |
| | Collapse this transcript |
|
|
3. Working with Sound Effects and MusicSynchronizing sound effects| 00:00 |
Now that we have all the dialogue and
sync soundtracks edited, it's time to
| | 00:03 |
start thinking about how we can add some
sound effects to enhance the action in
| | 00:06 |
our film.
In this movie we'll look at importing
| | 00:10 |
sound effects and synching them to
picture.
| | 00:12 |
In this scene Mr Dalton is sending a
message on his iPhone.
| | 00:15 |
But we have no sound to go with it.
Let's watch for a second.
| | 00:20 |
The message he sends is an important part
of the film, so we want to give his
| | 00:23 |
actions a little life here.
So, let's go over how to import and sync
| | 00:27 |
up some cell phone sound effect files we
have.
| | 00:30 |
In order to find the exact location from
the sound effects from the time line, we
| | 00:34 |
want to be frame accurate.
Logic Pro has a key Cmd to move the play
| | 00:38 |
head one frame right or left, but we have
to first define it as a custom key board
| | 00:42 |
Cmd.
Go to Logic Pro > Preferences, and Key
| | 00:47 |
Commands.
In the Key Commands search window type
| | 00:51 |
the word Frame.
There you should see Rewind one frame,
| | 00:55 |
and Forward one frame.
Click the Learn by Key Label button.
| | 01:00 |
We'll use the keys Cmd left bracket for
rewind one frame, so select that line,
| | 01:04 |
and type those keys.
And then Cmd right bracket for forward
| | 01:09 |
one frame.
So select that line and type that key
| | 01:12 |
combination.
Now we've defined those key commands, and
| | 01:14 |
we can close the window.
Back in the arrange window, let's try out
| | 01:17 |
these key commands, going forward one
frame at a time, and backward one frame
| | 01:20 |
at a time.
Good, now we'll drop some markers where
| | 01:24 |
we need to place some sound effects.
There's two sound effects we'll make
| | 01:28 |
markers for, the unlock sound of the
phone.
| | 01:31 |
And then some phone tapping sounds as he
types out his message.
| | 01:34 |
Notice in the markers global track, we're
looking at our scene markers according to
| | 01:38 |
the cuts.
Logic allows more than one marker's
| | 01:41 |
playlist, in the form of alternative
marker playlists.
| | 01:44 |
So, let's go to alternative two for a
clean slate.
| | 01:48 |
Now using the forward and backward by the
frame key Cmd we just made.
| | 01:51 |
We'll find spots for the sound effect and
drop markers at each location where sound
| | 01:55 |
effect will be.
To create markers in a frame accurate
| | 01:59 |
manner, however, you want to open the
list inspector.
| | 02:03 |
There we can choose the tab called
Marker.
| | 02:05 |
And here, under Options, we'll use the
Create Without Rounding selection, to
| | 02:10 |
make Markers.
Otherwise, Logic Pro tries to round up to
| | 02:14 |
nearest bar and(UNKNOWN).
By using Create Without Rounding we'll be
| | 02:18 |
more accurate with the Markers, we'll be
frame accurate.
| | 02:22 |
Okay?
So it looks like Mr Dalton unlocks the
| | 02:24 |
phone with his thumb right at time code
01:06:20:11.
| | 02:28 |
Select Create Without Rounding to make a
marker there.
| | 02:29 |
Once the marker's made, you can
Double-click it, and we'll name the
| | 02:36 |
marker unlock.
After that he taps his fingers seven
| | 02:42 |
times.
The first tap is 01:06: 21:14.
| | 02:50 |
Let's make a marker there, and we'll call
it tap one.
| | 02:53 |
Now just for the sake of time, I've
already dropped in markers for the rest
| | 02:56 |
of the sound effects in the scene.
They're in the markers alternative three
| | 03:02 |
list.
Now let's find these sound effects.
| | 03:05 |
Open the media inspector on the right,
and from here we can navigate to our
| | 03:08 |
exercise files folder.
In there you'll see an SFX folder.
| | 03:12 |
Double click on it to open it, and in
there, there's going to be two files,
| | 03:16 |
called Tap and Unlock.
We can audition these files, from this
| | 03:20 |
window, by clicking on them.
(SOUND).
| | 03:22 |
Now, snapping regions directly to the
play head in Logic Pro is given a funny
| | 03:26 |
name, it's called Pick up clock.
But we want to use this Pick up clock
| | 03:31 |
function to sync the sound effects.
Let's add Pick up clock to our tool bar
| | 03:35 |
at the top.
Right click on toolbar and choose
| | 03:38 |
Customize toolbar.
Then you can drag the Pick up clock icon
| | 03:42 |
into the open space.
Okay.
| | 03:47 |
Now I'm going to move the movie to the
upper corner, to get it out of the way
| | 03:50 |
for a second.
Now we'll type Ctrl+ period to make the
| | 03:53 |
play head go to the first marker
location, the unlock marker.
| | 03:57 |
Here from the media browser, we'll drag
in the unlock region anywhere to the
| | 04:00 |
sound effects one track.
Now we just selected it and click the
| | 04:05 |
Pickup clock icon and it moves right to
the play head.
| | 04:08 |
Now we'll do the same for the first tap
sound effect.
| | 04:12 |
Once we have our first tap sound effect
back in place, we can type Cmd+C to copy
| | 04:16 |
that tap sound effect to the clipboard.
And then we'll use Ctrl+ Decimal to move
| | 04:21 |
to the next marker, then we can type
Cmd+V to paste it, and we'll repeat it
| | 04:24 |
for all the tab sound effects.
Once we're done let's lower the volume of
| | 04:29 |
this sound effects one track to see if
works in this scene.
| | 04:33 |
In the track inspector lower the volume
to minus 10.
| | 04:36 |
Now let's take a listen.
| | 04:38 |
(NOISE).
| | 04:44 |
This looks and sounds pretty good.
Knowing how to place sound effects like
| | 04:47 |
these in sync is a crucial way to get a
great sounding film mix, and it can
| | 04:51 |
enhance the narrative of your film a lot.
| | 04:54 |
| | Collapse this transcript |
| Using Foley| 00:00 |
Foley, named after famous Hollywood sound
designer Jack Foley, is the method of
| | 00:05 |
recording sound to match action.
It's used for those kind of sound effects
| | 00:10 |
that are better acted out than just using
a canned library sound effect.
| | 00:15 |
In this movie, we'll do a sample Foley
record, and I'll show a handy way to get
| | 00:18 |
your recordings in sync.
In this scene, Mr Dalton sits at his
| | 00:22 |
desk, contemplating life, and at one
point he drops his phone.
| | 00:27 |
We can kind of hear it on the sync track,
and I put a marker where you can hear it.
| | 00:32 |
Let's take a listen.
(SOUND) As you can hear it's little dull
| | 00:38 |
sounding, so we're going to do a Foley
recording where I will drop my phone and
| | 00:44 |
try not to break it, and I'll record it.
I have my microphone all set up here, and
| | 00:53 |
I'm about to demonstrate this simple
Foley recording.
| | 00:56 |
One thing that's helpful in a Foley
recording if you've ever tried to do one,
| | 01:00 |
is getting a cue to know when to do the
action.
| | 01:04 |
Luckily Logic Pro can provide you with a
counting.
| | 01:07 |
So lets set this up to work for us.
Go to the project settings tab under
| | 01:12 |
recording.
Again this is just another way to get
| | 01:15 |
into your project specific settings.
you can do it through the file, menu over
| | 01:18 |
here.
Okay now, so for the count in let's give
| | 01:22 |
ourselves a long two bars of count in.
Also, we can tab over the metronome
| | 01:27 |
settings, click only during count in.
We don't want to be hearing the metronome
| | 01:33 |
while we're recording, just to queue us
in, and count us in.
| | 01:37 |
Okay now I have the Foley track all set
up with my mic connected to it.
| | 01:41 |
I'll record enable the track, and then
now to start recording, I'll click the
| | 01:45 |
record button in the transport window.
Once I do this, we'll hear the count in
| | 01:50 |
and I'll drop the phone on cue.
Here we go.
| | 01:53 |
(SOUND) So that sounded pretty much in
sync.
| | 02:04 |
Don't worry if you end up doing the
action a little early in this case.
| | 02:08 |
You can still trim out the region where
it was pre-rolling.
| | 02:11 |
So there's a fun and easy way to do
accurate Foley recording in Logic Pro.
| | 02:16 |
You could do this for any type of sound
effects action that needs performing.
| | 02:19 |
Whether it's footsteps, clothing, or
movements.
| | 02:23 |
| | Collapse this transcript |
| Creating sound effects from scratch| 00:00 |
As you work through your film project,
you'll notice that some sound effects
| | 00:03 |
need to be created.
Logic comes with an incredible arsenal of
| | 00:07 |
Sound Designing tools to do just that.
In this movie, we're going to show an
| | 00:11 |
example of how to use Logic Channel Strip
settings to make the speakerphone voice
| | 00:14 |
actually sound like it's coming from a
speakerphone.
| | 00:17 |
In this scene here, the young architect
calls Mr Dalton on a speakerphone.
| | 00:21 |
The voice of Mr Dalton has been recorded
as a Wild Line.
| | 00:25 |
It's on the voice over dialogue track 11.
But it doesn't sound like a phone yet.
| | 00:30 |
Let's take a listen.
(SOUND)
| | 00:32 |
>> Yes?
| | 00:33 |
>> Hey.
| | 00:34 |
Yeah, I'm here with Patton.
and he's telling me that you want him
| | 00:38 |
here every hour on the hour, checking in
on me?
| | 00:42 |
>> Patton, are you there?
| | 00:44 |
>> Yes Mr Dalton.
| | 00:45 |
>> So let's make this voice sound more like
| | 00:47 |
a phone.
Ultimately, we'll be using real time plug
| | 00:50 |
ins to do this.
But remember, there may be other sounds
| | 00:53 |
on this track that we don't want to
effect in this way.
| | 00:56 |
So, let's click the little Plus icon next
to the Global Tracks to make a new Mono
| | 00:59 |
track.
Name the track DIA Phone Voice, that way
| | 01:03 |
we'll have a specific track just for this
effect.
| | 01:07 |
Remember to send the track's output to
the Dialogue Track so it falls into that
| | 01:11 |
stem.
Next, let's select all the phone dialogue
| | 01:15 |
regions and drag them into this track.
We'll need to double-click to enlarge the
| | 01:21 |
movie and arrange our view to see that
area, the Phone Dialog track, and the
| | 01:26 |
Track Inspector on the left.
Basically, Channel Strip settings are a
| | 01:31 |
quick way to call up and store presets
that involve one or more plug-ins on any
| | 01:35 |
audio track.
Click on the Setting tab and scroll down
| | 01:40 |
to Voice > Warped Voice > Phone Filter.
Now, there's a slight chance if you're
| | 01:47 |
following along on your own system, you
might have different channel strip
| | 01:50 |
presets here.
Apple sometimes changes presets from
| | 01:53 |
different logic version releases, so it's
possible your presets might look a little
| | 01:56 |
different.
Once you click the Preset, you'll see
| | 01:59 |
that the Preset loaded up the track with
some already predefined plug-ins
| | 02:02 |
containing settings.
Let's take a look at what the voice
| | 02:06 |
sounds like through these plug-ins.
| | 02:08 |
>> Yes?
| | 02:09 |
>> Hey.
Yeah, I'm here with Patton.
| | 02:11 |
and he's telling me that you want him
here every hour on the hour checking in
| | 02:17 |
on me?
| | 02:18 |
>> Patton, you there?
| | 02:19 |
>> Yes, Mr Dalton, I'm here.
| | 02:22 |
>> Now, that sounds pretty cool, but it's a
little to spaced out for the phone voice.
| | 02:26 |
We need in this scene this is due to the
one plug-in called ring Shifter.
| | 02:31 |
Let's customize this Channel Strip by
changing out that plug-in with another
| | 02:34 |
great plug-in.
It's in the Reverb section and it's
| | 02:37 |
called Space Designer.
Once we instantiate the Space Designer
| | 02:41 |
plug-in, let's load up a preset.
Let's find Warped Effects > Speakers >
| | 02:46 |
Tiny phone.
This loads up what's called an Impulse
| | 02:50 |
Response into the Space Designer plug-in.
Basically, an impulse response is a
| | 02:55 |
sampled space that can be superimposed on
any sound.
| | 02:58 |
Now, turn the Reverb slider down to minus
20 and let's take a listen to what this
| | 03:01 |
sounds like.
| | 03:03 |
>> (SOUND) Yes?
| | 03:05 |
>> Hey.
Yeah, I'm here with Patton.
| | 03:08 |
and he's telling me that you want him
here every hour on the hour checking in
| | 03:14 |
on me?
| | 03:15 |
>> Patton, you there?
| | 03:19 |
>> Yes Mr Dalton, I'm here.
And I am.
| | 03:28 |
>> Great, that sounds closer to the
| | 03:29 |
speakerphone we want.
Okay, one more step.
| | 03:29 |
We can now customize this as our own
phone speaker setting as a Channel Strip
| | 03:29 |
we've saved under our own name for later
use.
| | 03:30 |
To do this, click the Channel Strip, pull
down again, save Channel Strip setting
| | 03:35 |
as, and call it My Speakerphone.
That Channel Strip setting will be
| | 03:40 |
available from now on in any future logic
projects you open.
| | 03:45 |
Plug-in and Channel Strip real time
processing like this is a great way to
| | 03:47 |
achieve sound designed effects in your
Logic Pro mix.
| | 03:51 |
You can have a lot of fun with this
technique.
| | 03:53 |
And as you can see, there are endless
options for crafting other sound design
| | 03:56 |
with plug-ins, like we've done here.
| | 03:59 |
| | Collapse this transcript |
| Working with music tracks| 00:00 |
We've gotten to the point in our editing
here where this movie needs some music,
| | 00:03 |
especially the first daydream sequence.
In this movie, we'll work through adding
| | 00:08 |
a music track and syncing it up to a
specific location and timeline.
| | 00:12 |
Click on the Media Area button and you'll
see some tabs for navigating to the media
| | 00:15 |
on your computer and its hard drives.
Click on the Browser tab.
| | 00:20 |
The little Suitcase button is the Project
Browser.
| | 00:23 |
Click here, and you'll see all of your
Logic Project files and Associated Media
| | 00:26 |
in the Exercise folder.
In here, you'll see a Music folder,
| | 00:30 |
double-click that to see it's contents.
From here, we can audition any Sound
| | 00:35 |
file.
Click on the Music file called The
| | 00:37 |
Trouble With, and click the Speaker icon
or Space Bar to play the file.
| | 00:41 |
Let's listen to it.
(MUSIC) Good.
| | 00:46 |
That's the file we want.
Let's add it to the MUS1 track by
| | 00:51 |
clicking add.
Logic will spot the music to the play
| | 00:57 |
head in the selected track.
But, we'd like to get a little more
| | 01:02 |
specific about how the music's placed.
Go to Markers Alternative 4 in the Global
| | 01:06 |
Track to get a clean slate of markers.
Here, I want to find a spot where the
| | 01:11 |
movie goes to black and white, indicating
that the daydream has begun.
| | 01:15 |
It's right around timecode 01:04:25 and
zero frames.
| | 01:20 |
Open the Lists Inspector under the Marker
tab, and click Options > Create without
| | 01:26 |
rounding to drop a marker there.
You can name the marker Dream to indicate
| | 01:33 |
when the dream sequence begins.
Now, let's open a window we haven't
| | 01:37 |
looked at yet in this course.
Go to Window > Audio Bin.
| | 01:42 |
Here is a comprehensive view of all of
the Audio files being used in your
| | 01:46 |
project, and regions that reference those
files.
| | 01:50 |
Scroll all the way down to find The
Trouble With music file.
| | 01:56 |
Now, zoom in with the Zoomer tools to
make it nice and big so you can see the
| | 02:00 |
waveform.
Now, this little black marker is called
| | 02:04 |
an Anchor.
Normally, you want the anchor at the
| | 02:07 |
beginning of a region.
But this time, we'll move the anchor to a
| | 02:10 |
dramatic moment in the song, right where
the drums come in.
| | 02:14 |
You can actually see in visually in the
wave form where this happens.
| | 02:18 |
Now, flipping back to the arrange window,
we can click Pick-up Clock to move the
| | 02:21 |
anchor point to the play head, and then
our region snaps into sync.
| | 02:26 |
That's an easy way to sync to a specific
point of the timeline within a defined
| | 02:30 |
point of a region.
Now that we've sunk this up the way we
| | 02:34 |
want it, let's listen to how it turned
out.
| | 02:38 |
(MUSIC) We'll now continue through and
play some other music in the film.
| | 02:56 |
But this demonstration shows an easy way
to sync not only music, but any region to
| | 03:03 |
a specific location within that region
using the Audio Bin and the Anchor Point
| | 03:09 |
Method we've just seen.
| | 03:14 |
| | Collapse this transcript |
| Background ambience| 00:00 |
One of things we can do to enhance our
film is to create a sonic world around
| | 00:03 |
the action.
These actors aren't working in a vacuum.
| | 00:07 |
And one way to fix this is to use
background ambient tracks in all scenes
| | 00:11 |
to create a sense of space, and the real
world that the actors live in.
| | 00:16 |
Depending on how you've installed logic
to your computer.
| | 00:18 |
Whether it was a download, or by
installing the old school way from the
| | 00:21 |
DVDs.
Logic offers tons of content in the form
| | 00:25 |
of apple loops.
While most of these are music based and
| | 00:29 |
can be used for scoring your film, I
want to concentrate here on using apple
| | 00:32 |
loop as sound effects for background
ambiance in our film.
| | 00:37 |
One thing to note here is that I'll be
using sounds that were installed with my
| | 00:39 |
version of Logic, and again depending on
how you downloaded or installed Logic,
| | 00:42 |
there's a chance that your Apple loops
library isn't exactly the same as mine.
| | 00:47 |
Either way, you can follow along in this
exercise with your own Apple loops, just
| | 00:51 |
to see how it works.
The first scene takes place in a pretty
| | 00:55 |
quite main room of an office.
We have some room tone in the dialogue
| | 00:59 |
production tracks already, but we can use
sound effects to build another layer of
| | 01:02 |
ambiance to make the scene feel a little
more real.
| | 01:06 |
On the upper right of our arrange window
let's open up the media bin only this
| | 01:09 |
time we'll go to the loops tab.
Now if you properly installed your apple
| | 01:13 |
loops you can search through them with
this neat search tool.
| | 01:17 |
Let's click effects.
Then ambiance.
| | 01:22 |
Logic automatically filters the list to
show sound effects with those
| | 01:25 |
characteristics.
Finally, let's type office in the search
| | 01:29 |
bar.
There's two office ambiance tracks
| | 01:32 |
available.
Let's listen through auditioning.
| | 01:35 |
Double click them to hear them.
| | 01:40 |
(NOISE)(SOUND)
| | 01:42 |
We'll use office industrial for this
first scene.
| | 01:51 |
I'll drag it into the f x eight track.
We'll use the bottom two effects tracks
| | 01:56 |
for our ambiance tracks in this film.
Now as you can see it's not long enough
| | 02:02 |
for the entire scene.
So let's grab the top right of the region
| | 02:06 |
and pull it out and loop it until it
reaches the scene end.
| | 02:11 |
Now we'll use the other office ambiance
track for the next scene.
| | 02:16 |
Drag it into fx track seven, and loop it
until that scene ends.
| | 02:24 |
Now here's a little trick.
We're going to want to fade these
| | 02:27 |
ambiance regions in and out to make it
flow from one scene to the next, but you
| | 02:30 |
can't fade over a region loop in Logic
Pro.
| | 02:34 |
So if we right-click on the looped
region, we can quickly convert loops to
| | 02:38 |
real copies.
Then we can hit escape to chose the fade
| | 02:42 |
tool and create a fade in, and a fade out
at the beginning and end of each of these
| | 02:46 |
reigns.
Let's turn down the track volume for
| | 02:50 |
these two tracks and listen to the
ambiance we created.
| | 02:55 |
(SOUND) You know, I'm taking a big risk,
putting you on this Columbia project.
| | 03:08 |
Firm could be on the.
| | 03:10 |
>> As you heard, it's subtle, but it really
adds something useful to the scenes.
| | 03:13 |
Notice another thing.
The office industrial region on track
| | 03:17 |
eight is actually a 5.1 Surround Sound
Effect.
| | 03:21 |
See the six channels of audio in the
track meter?
| | 03:24 |
Now that would be useful if we wanted to
mix in surround.
| | 03:28 |
For now it's still bust out stereo, so we
hear the stereo down mix as it's called,
| | 03:32 |
when you fold the surround mix into two
channels.
| | 03:37 |
So these works well as ambiance for the
office, now we want to fill in each scene
| | 03:40 |
with that kind of background.
The end version of this exercise file has
| | 03:46 |
the completed ambiance on all scenes.
I suggest using this kind of background
| | 03:50 |
ambiance treatment to sound design your
films in the future.
| | 03:53 |
It'll make them sound much more realistic
and cinematic.
| | 03:57 |
| | Collapse this transcript |
|
|
4. Mixing to PictureAutomating volume| 00:00 |
Our film has really come a long way we've
pretty much flashed out all the
| | 00:03 |
backgrounds effects, music and dialogue
tracks.
| | 00:06 |
Now, it's time to start thinking about
how we're going to mix each individual
| | 00:09 |
track together to make it sound as good
as possible.
| | 00:12 |
Up until now we haven't paid much
attention to the volume of our tracks
| | 00:15 |
except for the occasional move of a
volume fader here and there.
| | 00:18 |
Before you commit to writing any
automation, all tracks can be set to
| | 00:21 |
whatever volume you want.
To view automation, you have to enter the
| | 00:25 |
automation view, under View > Automation.
An even faster way to get there though,
| | 00:30 |
is to type the key A on your keyboard.
This key command opens up Automation
| | 00:34 |
view.
Let's use volume automation to practice
| | 00:41 |
on a scene.
Here in this scene, we have the sound
| | 00:48 |
effect of a ticking clock.
Let's listen.
| | 00:57 |
(SOUND) Now obviously that ticking clock
sound effect is to loud, so let's adjust
| | 01:02 |
the volume by using the little yellow
fader in the track header to around minus
| | 01:07 |
25db.
Now, in this scene we want to emphasize
| | 01:11 |
the important concept of passing time so
will automate the volume of the clock to
| | 01:14 |
get a little louder when Mr.
Dalton looks at the clock.
| | 01:21 |
This subtle shift will bring attention to
the clock and if we do it right it'll
| | 01:24 |
just happen without us noticing, kind of
a subconscious sound design move.
| | 01:28 |
Okay once you're ready to create
automation you can click with the pointer
| | 01:31 |
tool on the automation line to create a
Break Point.
| | 01:34 |
And the Track Volume Automation will turn
yellow, indicating that automation has
| | 01:37 |
now been written.
We'll create two break points at the
| | 01:41 |
beginning and end of scene 89.
Once we do that we can pull up the middle
| | 01:47 |
part to around minus 18.
Now to make the automation volume change
| | 01:53 |
a little smoother between the break
points we can use the automation curve
| | 01:55 |
tool.
Type escape to get the tool palate and
| | 01:59 |
choose the automation curve tool.
Now click and drag downward to create a
| | 02:05 |
nice curve between the break points.
If you were to drag left and right, the
| | 02:10 |
curve tool will create the S type curve.
Alright, let's open the movie nice and
| | 02:16 |
big and take a listen to our automation
moves(SOUND) .
| | 02:25 |
Good, so that's one way of manually
drawing automation.
| | 02:28 |
If you wanted to write automation in real
time, that's also possible.
| | 02:33 |
On the left of the track header, there's
a green reading button indicating that
| | 02:37 |
the track is reading whatever volume
automation has been created.
| | 02:42 |
If you change this to touch mode.
As you play back the timeline, you can
| | 02:45 |
click and drag the mini fader up and down
to write automation in real time.
| | 02:50 |
Let's see this.
| | 02:52 |
(SOUND).
| | 03:02 |
Now sometimes a scene will require this
kind of touch to get it just right.
| | 03:05 |
And since it's in touch mode, as soon as
you release the fader, it goes back to
| | 03:07 |
reading whatever automation was there.
But for now I like the manual automation
| | 03:11 |
we drew in before.
It worked well for me.
| | 03:13 |
I'm going to hit Cmd Z to undo.
As you can see, once you're in the mixing
| | 03:17 |
stage of your film, knowing how to view
and quickly manipulate volume automation
| | 03:20 |
is crucial.
So you can get that perfect balance and
| | 03:23 |
make important narrative-driven volume
adjustments like we've done here.
| | 03:27 |
| | Collapse this transcript |
| Using EQ to enhance your mix| 00:00 |
As you're mixing your movie, you'll
enevitably come acrosss situations where
| | 00:03 |
just adjusting the volume isn't enough to
make the sound sit right in the film.
| | 00:08 |
In this movie we'll explore using
equalizers as tonal shaping tools to make
| | 00:11 |
the sounds work better.
We can begin by using equalizers to get
| | 00:15 |
rid of any unwanted stuff that might be
clouding up our mix.
| | 00:18 |
There's a lot of information in our
tracks that's outside the usable
| | 00:21 |
frequency spectrum.
I'm talking about low rumbles, wind
| | 00:25 |
noise, and hiss that exists either well
below, or above, the usable frequencies
| | 00:29 |
of the voice.
We could effective put a global channel
| | 00:33 |
EQ on our auxiliary dialogue stem track
to deal with all of this.
| | 00:36 |
Type Cmd+2 to enter the Mix window.
Here in the dialog stem aux track, we can
| | 00:41 |
call up the channel EQ just by
double-clicking on the EQ window.
| | 00:47 |
You could do this for any track by the
way, and it's the same as inserting the
| | 00:49 |
channel EQ plugin on that track.
Then you get a visual reference of what
| | 00:53 |
kind of EQ is on your track.
Now this grayed-out icon on the top left
| | 00:57 |
is a high pass filter, it lets the high
frequencies pass and cuts out the low
| | 01:01 |
frequencies where you tell it to.
Let's click it in, then we'll increase
| | 01:06 |
the frequency to around 75 hertz.
We can also take the edge off a little of
| | 01:11 |
the high with a similar icon on the
right, this is called a low pass filter.
| | 01:15 |
It lets low frequencies pass, and it cuts
out high frequencies.
| | 01:18 |
This will help with any hiss we have on
our tracks, so we could pull the
| | 01:22 |
frequency down to 15 kilohertz.
But we have to be a little more careful
| | 01:26 |
here about removing too much high end, so
let's leave the slope to be more gentle
| | 01:29 |
at 6 dB per octave.
Now, remember, this EQ is going to be
| | 01:33 |
global for all the dialogue tracks in the
film, since they're routing through this
| | 01:36 |
aux.
But some tracks need even more EQ love to
| | 01:41 |
sit right.
Let's take, for example, Mr Dalton's
| | 01:44 |
voiceover track that was added as a
dialogue replacement during the beach
| | 01:47 |
dream sequence.
Let's take a listen.
| | 02:04 |
Now as you can hear that recording sounds
good, but it doesn't really quite sound
| | 02:07 |
like that he is on the beach.
It sounds more like he is on the studio
| | 02:10 |
or something, which is where they
recorded the dialog replacement, right?
| | 02:13 |
So we'll use a channel EQ on this track,
in this case, to tonally shape the sounds
| | 02:16 |
so it matches the scene better.
Let's insert a channel EQ on the dialogue
| | 02:21 |
11 track.
Let's also solo the track.
| | 02:26 |
Now here we need to make the voice less
booming, and also a little less present
| | 02:29 |
in the high end.
We can click analyzer to see a real-time
| | 02:32 |
readout of the frequencies, check this
out.
| | 02:36 |
>> The sand, well the water and sand mix,
| | 02:38 |
chemistry stuff.
But that's not the exciting part.
| | 02:41 |
The exciting part is the lines.
| | 02:43 |
>> The boomy stuff I'm referring to is in
the lower mid frequencies.
| | 02:47 |
Now on the low shelf control, second from
the left, we can move the frequency up to
| | 02:52 |
around 300 hertz.
Then we can reduce the gain to about
| | 02:55 |
minus eight decibels.
We'll then do the same thing on the high
| | 03:00 |
shelf band.
Adjust the frequency to about 7,500 hertz
| | 03:04 |
and pull the gain down to minus six.
Finally let's crank the output gain up
| | 03:09 |
four DBs to compensate for any lost
volume.
| | 03:13 |
Now let's take a listen to this track
with the EQ.
| | 03:15 |
>> The sand?
| | 03:16 |
Well the water and sand mix.
Chemistry stuff.
| | 03:19 |
But that's not the exciting part, the
exciting part is the lines.
| | 03:23 |
>> Alright, let's unsolo the track, and
| | 03:25 |
during playback, I'll push the bypass
button on the plugin so we can hear
| | 03:29 |
before and after our EQ moves.
When the bypass button is lit, the plugin
| | 03:34 |
is inactive.
Here we go.
| | 03:36 |
(MUSIC)
| | 03:38 |
>> The sand.
Well, the water and sand mix, chemistry
| | 03:41 |
stuff.
But that's not the exciting part.
| | 03:44 |
The exciting part is the lines.
| | 03:45 |
>> The lines?
| | 03:46 |
>> Yeah, the lines.
Here, let me show you.
| | 03:50 |
You want strong lines.
(MUSIC)
| | 03:53 |
>> So there we go, now his voice sounds a
| | 03:54 |
little more glued to the reality of the
scene, as if he's on the beach with the
| | 03:58 |
child.
Going forward, you'll want to use these
| | 04:02 |
times of EQ treatments wherever any
element isn't sitting quite right in the
| | 04:05 |
mix, and just pure volume adjustment
isn't doing the trick.
| | 04:09 |
| | Collapse this transcript |
| Automating plugins| 00:00 |
Sometimes when you use plugins for your
film mix, you want them to change
| | 00:03 |
perimeters in real time.
This actuary can be very useful as a
| | 00:07 |
sound design tool.
In this movie, I'll show you how to use
| | 00:10 |
plugin automation to change a reverb
plugin in real time.
| | 00:12 |
This clock sound effects in our effects
track, provides a good way to exit the
| | 00:15 |
dream sequence and return to real life.
Let's take a listen.
| | 00:26 |
(SOUND) Now that sounds all right, but
wouldn't it be cooler if we could make
| | 00:30 |
the clock sound like it's in the
character's head.
| | 00:34 |
Coming out of the dream sequence, and
then fading into a normal clock sound as
| | 00:37 |
he comes back into reality?
If we can only make it have a reverb that
| | 00:42 |
gradually decreases until it's dry.
Actually using plugin automation we can
| | 00:47 |
totally do this.
Let's insert a real time plugin on the
| | 00:51 |
track's insert.
We'll use space designer.
| | 00:53 |
the awesome impulse response reverb that
comes with Logic Pro.
| | 00:58 |
Okay, now that we're in space designer,
let's call up a preset.
| | 01:01 |
Where it says Default, I'll click in here
and I'll call up under Large spaces >
| | 01:06 |
Warped spaces >deep verb.
Now let's listen to the plug in without
| | 01:12 |
any animation.
| | 01:15 |
(SOUND)(NOISE)
| | 01:19 |
here.
Okay, as you heard that reverb's cool,
| | 01:23 |
but it's not quite effective the way we
want it to be.
| | 01:26 |
Type A to bring up automation view.
We can see the volume automation on the
| | 01:30 |
first layer here.
Now click where it says Volume.
| | 01:33 |
These are other automation types that you
can automate.
| | 01:36 |
Let's choose Space Designer Reverb
Output.
| | 01:39 |
The Reverb Output is the parameter we can
chose to go from Reverb to Ro Reverb.
| | 01:44 |
All right, now let's pull Reverb Output
all the way down for the whole track.
| | 01:48 |
That way we won't inadvertently have
reverb on any other region in this track.
| | 01:53 |
Next we'll create some break points to
make the reverb output start high and
| | 01:56 |
move to nothing over the course of the
region.
| | 02:01 |
Good, once we've created this automation
move, let's take a final listen to our
| | 02:05 |
result.
(MUSIC)(SOUND).
| | 02:07 |
>> Here are the copies of the bell contract
| | 02:11 |
you asked.
| | 02:13 |
>> Now let's switch back to volume
automation and you can see the plug-in
| | 02:20 |
automation is in the layer below.
This a nice visual reminder that you have
| | 02:27 |
other automation going on besides volume.
Plug-in automation like this is a really
| | 02:31 |
useful tool when you're finessing your
mix and it's these kinds of touches that
| | 02:35 |
really make your film mix take on a life
of its own.
| | 02:39 |
| | Collapse this transcript |
| Printing final stems| 00:00 |
As you can see here, our film has been
fully edited and mixed.
| | 00:03 |
Look at all that automation in there.
If you take the time, you'll find a lot
| | 00:06 |
that's been done since the last exercise.
Once you have your mix finalized, it's
| | 00:11 |
time to do what we call the PrintMaster
or the re-recording session.
| | 00:14 |
This is where you combine all of your
stems, both as a full stereo mix, and
| | 00:18 |
also split them up as individual stems to
output.
| | 00:22 |
The stems could be useful later, if you
need to make a change or a make a foreign
| | 00:25 |
language version, change the music,
etcetera.
| | 00:28 |
In this movie, we'll work through the
steps to make these final PrintMasters.
| | 00:31 |
One of my favorite features of Logic Pro
is that it supports off-line bouncing.
| | 00:36 |
What this means is if you're working on
any piece of any length, like a short
| | 00:39 |
film, or especially a feature-length
film.
| | 00:41 |
You don't need to wait in real time while
the stems and final mix export.
| | 00:46 |
Before starting we must define a area and
timeline to be bounced to disk.
| | 00:50 |
Zoom all the way out and place the end
marker just after the film ends.
| | 00:55 |
Then hit return to move the play head to
the beginning.
| | 00:59 |
Let's type Cmd+2 to look at the mixer.
On the output channel, you might notice
| | 01:03 |
it has the word BNCE as a button, this
stands for bounce, effectively mixing and
| | 01:07 |
bouncing all of our files as a single
file to the hard drive.
| | 01:13 |
Let's click the Bounce button.
Now here we see the Bounce dialogue box.
| | 01:16 |
First of all, let's give it a name and
location.
| | 01:20 |
We'll call this first bounce
Castles_finalmix.
| | 01:27 |
And we'll place it a folder, Castles_FCP,
from audio.
| | 01:33 |
This is going to be sent back to our
Video Editor.
| | 01:36 |
Next, for a destination, we want PCM.
That's full resolution, it stands for
| | 01:41 |
Pulse Code Modulation.
But really we can just think of it as
| | 01:44 |
full resolution uncompressed audio.
We'll choose offline to make it faster.
| | 01:49 |
And let's turn off any normalize
features.
| | 01:51 |
If we've done a good job mixing we
shouldn't have any clipping, or any need
| | 01:54 |
to normalize anything.
For file format we could choose either
| | 01:59 |
WAV, or AIFF.
16bit 48,000 sample rate.
| | 02:04 |
These are the standards for video.
File type is good interleaved, and that
| | 02:07 |
way we'll have one stereo file when we're
done.
| | 02:10 |
And we can also leave dithering
unchecked.
| | 02:12 |
We're not moving up or down any sample
rates or bit depth.
| | 02:15 |
That's the time you would, may want
dithering, and we're not doing that here.
| | 02:18 |
Now, when you're ready, we'll click
Bounce, to make the final mix.
| | 02:21 |
Okay, good.
We've got our final mix, but we're not
| | 02:27 |
quite done.
We still want to export the stems as
| | 02:29 |
individual files.
To do this, we'll mute the other
| | 02:31 |
auxiliary channels except for the one we
are outputting.
| | 02:35 |
In other words, for the dialogue stem,
we'll mute effects and music.
| | 02:39 |
We'll click Bounce, keep all the settings
the same, and we'll name it Castles_dia
| | 02:43 |
stem.
And we'll click Bounce.
| | 02:47 |
Now once that's done, we'll do the same
to output the effects and music stem.
| | 02:52 |
When you're done you'll have four mixes,
the stereo mix and three stem mixes.
| | 02:59 |
Now these files are ready to be
reimported to Final Cut Pro, or any other
| | 03:03 |
video editing program.
Finally, if you want to bypass Final Cut
| | 03:08 |
Pro altogether, you can go to File >
Export audio to movie and Logic Pro will
| | 03:12 |
integrate our sound into the Quicktime
file we have imported into our Logic Pro
| | 03:16 |
session.
So those are the final output steps from
| | 03:21 |
Logic Pro.
| | 03:22 |
| | Collapse this transcript |
| Marrying back to picture| 00:00 |
Here we are on our desktop, and we're
going to go back to our Castles FCP
| | 00:03 |
folder.
And in here we've created a new folder
| | 00:06 |
called From Audio, where we've brought in
our stereo mix print from our sound
| | 00:09 |
engineer.
We want to bring this back into Final
| | 00:12 |
Cut.
So we'll switch over to Final Cut, and in
| | 00:15 |
our castle's project window, we'll go
down to File.
| | 00:19 |
Import folder, I am choose our Castle's
FCP folder here on our desktop from
| | 00:25 |
audio.
I want to just choose this folders that
| | 00:29 |
has its stereo mix in it and what this
does it just creates a bin already with
| | 00:34 |
our stereo mix in it which is I want to
use import folder.
| | 00:41 |
So now we'll duplicate our castle
sequence and we'll rename this Castles
| | 00:46 |
underscore Final Mix.
And the reason we're duplicating our
| | 00:51 |
sequence is just so that we can keep our
original in tact if any problems arise,
| | 00:54 |
because in our Castles Final Mix sequence
we are actually going to delete all of
| | 00:57 |
our audio so we can bring in our stereo
mix...
| | 01:01 |
So, let's bring in our stereo mix, and
scroll down to our two pop down here.
| | 01:06 |
(SOUND) Now it looks like that lines up.
Let's just check another quick scene real
| | 01:15 |
quick for sync.
| | 01:16 |
>> [from recording] I'm taking a big risk
putting you on this Columbia project.
| | 01:20 |
Firm could be on the line here.
| | 01:22 |
>> That looks great.
So that's how we can import a sound mix
| | 01:25 |
and bring it back into our sequence and
Final Cut Pro.
| | 01:28 |
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ConclusionNext steps| 00:00 |
In this course, you've looked at how to
mix a short film with Logic Pro.
| | 00:03 |
I hope you've achieved our goal of
exploring possible approaches and
| | 00:06 |
techniques for mixing audio for a real
film project rather than working through
| | 00:10 |
all the technical possibilities over the
Logic Pro software.
| | 00:14 |
If you are looking to increase your skill
set working from Logic Pro in general,
| | 00:18 |
I'd love to recommend a lynda.com course,
Logic Pro Essential Training, that I also
| | 00:21 |
teach.
There you'll find a more comprehensive
| | 00:25 |
approach to all the features of the logic
platform.
| | 00:27 |
Some of which, we've only barely
scratched the surface of in this course,
| | 00:30 |
especially the very deep music features
that Logic Pro provides.
| | 00:34 |
Thank you so much for watching this
course.
| | 00:36 |
I'll see you next time.
| | 00:38 |
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