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Everything we learned in the previous movie about adjusting audio level and pan is a great resource for basic audio adjustments, provided that you're either changing the audio of a source clip or of the segment in the Timeline that can also be applied globally, or in between in and out points. What if, however, you need change the audio within a segment? Many times audio levels fluctuate within the boundaries of a segment and one adjustment for the entire segment simply won't work. Instead, you need to be able to ride the levels up and down within the segment, and to do this you'll need to keyframe the audio, which is otherwise known a rubberbanding.
So we have made our adjustments in the Timeline regarding Kim's audio. I'm going to go ahead and solo that so that we can verify that everything looks good there. (Female speaker: Brings you together. Brings you to a simple time.) We're peaking properly, but when I un-solo this and play it with the music let's take a listen. (music playing) (Female speaker: Swing dancing brings you together.) (music playing) (It brings you to a simple time.) Now, I'm going to move my monitor up to B2, because obviously we have some Broll here.
I'd like the music to be at this level while we see them dancing, but I need it to dip down when she starts talking. So what we learned before was segment- based adjustment and that's not going to work in this situation. We actually need to dip it down right here and mix our audio; therefore we're going to add keyframes, and the way we do that is to activate a setting. I'm going to activate my Track Control panel here by clicking on this little arrow to the right of the time code. I'm going to click on the dropdown menu and choose Volume.
I'm going to do it again for A4, and this is going to allow us to input keyframes so that we can make that adjustment. Again, if you're not able to do that, make sure, in the Timeline Fast menu under Audio Data, that you have Allow Per Track Setting selected, and then you can work within our Track Control panel. To maximize our real estate, I'm just going to close that back up, and what I want to do is set a couple of keyframes. I like our levels in the beginning. I'm going to go ahead and play, and let's watch our levels here in the Audio tool.
(clip playing) (Female speaker: Swing dancing brings--) All right, and we need to bring them down significantly, starting about right here. So I'm going to press the apostrophe key, which is your Keyframe button. I first need to select A3 and A4, and I'll just de-select A1 and A2 because we're not working on those tracks right now, and I'll add a keyframe by pressing the apostrophe key, and I'm going to add another one right here. The next thing you need to check is that you have the Keyframe button enabled.
If I don't, I'm not able to adjust these keyframes. But if this is enabled, I can hover over a keyframe and it turns into a little hand, and I can bring that down. So let's go ahead and play this through and we'll see how the audio mix sounds. (clip playing) (Female speaker: Swing dancing brings you together.) (It brings you to a sim--) So, I dropped it too low. What I'm going to do to help myself out is increase the size of my A3 and A4 tracks so that I can really see how much I'm dropping this down by.
So first of all, I'm going to de-select B1 and B2, and now I'm going to press Ctrl+L or Command+L on a Mac and when I make these really large, you see this decibel lines. So what I want to do is actually drop it down above the next decibel line down, so I'm going to drag up a little bit and that's probably a little bit better, maybe a little bit more, and let's go ahead and try that out. I'll go ahead and press play. (music playing) (Female speaker: Swing dancing brings you together.) (It brings you to a simple time where--) And just a little bit higher. (--where the rules were defined. One person follows, one--) All right, so that's sounding pretty good.
If you want to snap to these decibel lines, you can. If I hold down Ctrl or Command on a Mac, you notice that these snap to these decibel lines, so that can be really helpful. Again, I want to kind of go in between, so I'm going to release here, and I think that's going to be pretty good. So if I wanted this change to occur quicker, I just would need to drag this to the left and right. By default, though, I can't do that. I have to hold down a modifier key, which is the Alt button or Option on a Mac.
So this will allow me to drag my keyframe to the left and right. If I want to have that happen quicker, I'm going to park it about right there. And I think I moved it up a little bit so, I'll reposition. And I'm just going to increase the size of my track so I can see it even better, and let's go ahead and take a listen. (clip playing) (Female speaker: Swing dancing brings you together. It brings you to a simple time where the roles are defined.) Notice that everything is peaking normally here.
Audio is additive, so if you adjust A1 and A2 and then you adjust A3 and A4 and each one is peaking correctly, it could be that it will send it to above-normal peaking levels when their all added together. So, you'll always need to listen to everything in conjunction with one another to ensure that you're audio mix is good. I want to show you one more shortcut for keyframe adjustment. I'm going to go ahead and zoom out. And what I'd like to do is bring the audio back up after she's done speaking.
So I'm going to go ahead and press the apostrophe key here and again here. And we know that the initial levels are right at this decibel line, so I'm going to Ctrl+Drag up, and now we have a ramp-down and a ramp-up. Now, if I wanted to change both of these simultaneously, I could park here and mark an in, park here and mark an out and then when I adjusted one, you can see that the entire ramp will adjust simultaneously, so that can be really helpful when you're designing a ramp like this, which is really common when you have music over narration.
If I want to delete an audio keyframe, I just hover, I don't click, and I press Delete. Notice that when I do that between an in and an out point, all the keyframes between my in and out points delete. So if I wanted to delete all the rest of these, I would just need to move my in and out points out, hover, I don't click, and I press Delete on the keyboard, and they're all gone. Now, I do want those adjustments, so I'm just going to Ctrl+Z several times and get that back.
So, as you can see, rubberbanding audio is absolutely essential to building a proper audio mix, because you can never really rely on audio segments with uniform levels. Building an intricate audio bed is so important, so you'll certainly find yourself using audio keyframes a lot.
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