IntroductionWelcome| 00:04 | Hi! I am Skye Lewin, and welcome to Music
Editing for TV and Film in Pro Tools.
| | 00:08 | In this course, we'll look at some
tools and techniques for editing music to
| | 00:12 | picture in Pro Tools.
| | 00:14 | We will start by examining some of
the basics of timecode and then syncing
| | 00:17 | picture with the Pro Tools timeline.
| | 00:20 | Next, we will look at some navigation,
viewing, editing techniques, and key
| | 00:26 | commands that will help you edit more
quickly, so you could focus on being
| | 00:30 | creative rather than
looking for the right tools.
| | 00:33 | Then we'll walk through creating
several music edits, conforming, and creating
| | 00:39 | QuickTimes to present the edits.
| | 00:41 | Lastly, we'll talk about some special
circumstances that may require attaining
| | 00:45 | additional edit rights.
| | 00:47 | So whenever you're ready, let's get
started with Music Editing for TV and
| | 00:50 | Film in Pro Tools.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com Online Training Library, or if you
| | 00:04 | are watching thus tutorial on a DVD-ROM,
you have access to the exercise files
| | 00:08 | used throughout this title.
| | 00:10 | In our Exercise Files folder, you
will see the ELI Session folder and the
| | 00:15 | Example Music folder.
| | 00:16 | In the Example Music Folder, you will
see both of the songs that we will be
| | 00:20 | editing in this course.
| | 00:22 | In the ELI Session folder, you
will se several Pro Tools files.
| | 00:26 | Each of these Pro Tools files is named
with the chapter number, underscore, the
| | 00:31 | video number, underscore, and a short
description of the content of the video.
| | 00:35 | If you open any one of these Pro Tools
sessions, you will se the session on the
| | 00:38 | same start state as the corresponding video.
| | 00:42 | If you open the session and are prompted
for missing audio or fade files, just
| | 00:45 | choose Automatically Find & Relink,
which will re-link the audio files, and
| | 00:49 | select Regenerate Missing Fades Without
Searching, which will recreate the fade
| | 00:53 | files, click OK, and the session will
open and regenerate the missing fades and
| | 00:57 | re-link the missing audio.
| | 00:59 | In our Audio Files folder, you will see
the example music that we will be using
| | 01:04 | in this course, and in the Guide Tracks
folder, you will see the audio files or
| | 01:08 | the production audio tracks from the
ELI clips that we will be using in this
| | 01:11 | course, and you will also see a couple of
files that we will be making along the way.
| | 01:16 | And in our Video Files folder, you will
see the three different clips from the
| | 01:20 | short film, ELI, that we will be using.
| | 01:22 | If you are a Monthly member or
Annual member of lynda.com, you don't have
| | 01:26 | access to the exercise files, but you can
follow along from scratch with your own assets.
| | 01:30 | So let's get started!
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| A word about the film and music used in this course| 00:00 | In order to effectively demonstrate
cutting music to picture, we needed audio
| | 00:04 | and visual assets to work with.
| | 00:06 | This course contains a
clip from the short film ELI.
| | 00:09 | The entire movie is
available for download on iTunes.
| | 00:12 | The music used in this course
was composed by Simon Hunter.
| | 00:15 | Feel free to check out
more of Simon's music online.
| | 00:18 | Special thanks to the filmmakers of ELI
for letting us use a clip from their
| | 00:21 | movie and to Simon Hunter for
letting us use his music in this course.
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|
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1. Getting StartedCreating a template session for working to picture| 00:00 | The first thing that we are going to want
to do is we are going to set up a template.
| | 00:03 | What this allows us to do is have a
starting place so that when we work on
| | 00:07 | future projects, we don't have to
set up all of our preferences and our
| | 00:10 | track layouts every time.
| | 00:12 | What we will do here is create a new
session, which you can do by selecting New
| | 00:17 | Session, under the File menu in Pro
Tools, or by the key command Command+N on Mac
| | 00:22 | or Ctrl+N on Windows. And we are
going to create a blank session.
| | 00:27 | We are going to use the audio
file type broadcast.wav, or .wav,
| | 00:32 | with a Sample Rate of 48 kilohertz and a Bit
Depth of 24 bits. And under our I/O Settings,
| | 00:37 | let's select Stereo Mix, since we are
going to be working in stereo on this course.
| | 00:43 | And you can save this
anywhere you want on your computer.
| | 00:45 | Let's call this "template," and I am going
save it to the Desktop. And so now we've
| | 00:50 | got a blank session. It looks like
some of the settings have carried over
| | 00:54 | already, so I am just going to walk you
through some of these important settings
| | 00:57 | that are kind of key for a
video or post-production project.
| | 01:02 | The first thing that I like to do in a
session is to enable Shuffle Lock, at
| | 01:05 | least when I am not going to use it, which
we are not going to use it in this course.
| | 01:08 | And the way you do that, we are going to
Command+Click or Ctrl+Click that button
| | 01:13 | to enable that mode.
| | 01:14 | You'll see a little lock icon to the
left of the word Shuffle when it's enabled.
| | 01:18 | The next thing that we are going to do,
if it's not already selected, is enable
| | 01:23 | what they call Single Zoom mode in Pro
Tools. And so you can see, by clicking
| | 01:28 | on it and holding, you'll see Normal
Zoom and Single Zoom, and Single Zoom has
| | 01:32 | a little arrow icon, kind of like
an alias icon, to the top-right of the
| | 01:36 | magnifying glass icon.
| | 01:38 | What this tool allows us to do is,
every time we zoom in by clicking with the
| | 01:42 | Zoom tool, it will return us to our
previously selected tool, which is a very
| | 01:46 | handy way to quickly zoom and
then get right back to work.
| | 01:50 | Another tool that I like to use
in Pro Tools is the Smart tool.
| | 01:54 | It allows you to use the three basic
editing tools in Pro Tools, all from the
| | 01:58 | same tool, based on where you place the
cursor on a track, or over a region on a track.
| | 02:05 | And so we are going to enable the
Smart tool by either clicking this cursor
| | 02:08 | bracket around the three tools or by pressing
the F6+F7 or F7+F8 keys at the same time.
| | 02:17 | This essentially gives us the Trim tool
| | 02:19 | if you place the cursor to the left-
hand side of a region; the Selector tool
| | 02:23 | if you click in the middle-top part
of a region; and the Hand Grabber tool,
| | 02:26 | if you click on the bottom part of a
region. And we can see all this a little
| | 02:29 | bit later, perhaps in another video.
| | 02:31 | But for now let's enable that. And
the next thing that we want to do is
| | 02:35 | create four new tracks.
| | 02:37 | You can either select the Track menu
and choose New, or you can use the key
| | 02:41 | command Shift+Command+N on Mac or
Shift+Ctrl+N on Windows. And we are going
| | 02:47 | to set this to 4, so just type in
the number 4 and it will automatically
| | 02:50 | create four tracks.
| | 02:52 | We want to make the stereo tracks, so
you can use the key command Command+Right
| | 02:57 | Arrow on a Mac or Ctrl+Right Arrow on a
PC to set them to stereo, and then you
| | 03:01 | can hit Return or Enter to create these tracks.
| | 03:05 | So now we have four new tracks, and two
of these are going to be edit tracks,
| | 03:09 | so we can just call them Edit 1 and Edit 2.
| | 03:12 | So to rename, double-click on
the first track and type in Edit 1.
| | 03:17 | Now to get to the next track to rename it,
there is a couple of ways to do this.
| | 03:20 | One is to hit OK and to double-click
the next track, but that's a little slow.
| | 03:26 | Maybe a faster way to do this would be
to double-click the first track and name
| | 03:30 | it, and then use the key command to
get to the next track. And on a Mac, that
| | 03:34 | key command is Command+Down Arrow; on
a PC, it's Ctrl+Down Arrow. And that will
| | 03:39 | automatically take you to the next
track in the list without having to exit the
| | 03:44 | dialog and restart.
| | 03:46 | If you want to get back to the previous
track to rename it without exiting the
| | 03:49 | dialog, you can hit Ctrl+Up Arrow or Command+Up
Arrow, and it will do the same thing.
| | 03:54 | So let's rename the second track as Edit 2.
| | 03:58 | The third and fourth tracks we want
to use for something that I call a bin.
| | 04:01 | It's more of a storage track than it is
an actual track, in that we are going to
| | 04:05 | deactivate it so that it
will not play back audio.
| | 04:08 | It's just a place to store finished edits.
| | 04:10 | So let's call these BIN 1 and BIN 2.
| | 04:12 | You can call them whatever you want;
| | 04:15 | this is just how I like to name them.
And then hit OK or Enter or Return to select it.
| | 04:20 | Now we have our four tracks.
| | 04:22 | The next thing that we are going to do
is select the two tracks that we want
| | 04:27 | to deactivate, and we are going to right-
click on the track name and select Make Inactive.
| | 04:34 | You can see the tracks become grayed out.
| | 04:36 | That means that they are no longer
active, and they are no longer consuming
| | 04:40 | the system resources.
| | 04:42 | When you play a Pro Tools session, any
audio that's stored on these tracks will
| | 04:46 | not play; you will not hear it.
| | 04:47 | Another way to do this is to go to the
Mix window--Ctrl+Equals or Command+Equals will take
| | 04:53 | you to the Mix window--
| | 04:55 | and at the bottom, near the bottom of the
faders, you will see a small waveform symbol.
| | 05:00 | You can Ctrl+Command+Click or Ctrl+Start+
Click that button, and it will activate or
| | 05:06 | deactivate those tracks, just
like we did with a right-click.
| | 05:09 | And one last setting that's already set
in this session that we do want to set
| | 05:13 | just for ease of navigation is
Link Track and Edit Selection.
| | 05:17 | So this button here, if it's enabled
when you select a track, it's going to
| | 05:22 | highlight automatically. When it's disabled,
it doesn't. And I personally love this option.
| | 05:26 | It makes it really easy to quickly see
which tracks you are working on, so let's
| | 05:30 | enable that in our template.
| | 05:32 | Next, let's go into our Session Setup
and make sure we have the Session Start
| | 05:36 | time and the frame rate set properly.
| | 05:39 | You can access this a couple of ways.
One is to go to the Setup menu and select
| | 05:43 | Session or Command+2 or Ctrl+2 to pop it open.
| | 05:48 | And here you can see the Session Start
is already set to where we want it, but
| | 05:52 | we want it to start usually about two
minutes before the picture start--and
| | 05:56 | usually picture start is at one hour
even--so we are going to set our Session
| | 05:59 | Start to 58 minutes, so
you can type in 00:5:00:00.
| | 06:05 | You will see the numbers cycle across
from right to left and then hit Enter or
| | 06:09 | Return to set the selection.
| | 06:11 | And the last thing that we are going
to want to do is make sure our Time Code
| | 06:15 | Rate is correct in our template.
| | 06:16 | We are going to be working at 29.97
frames per second in this course, so let's
| | 06:22 | make sure that's set, which it is. And
you can close this window the same way
| | 06:26 | you opened it: Command+2 or Ctrl+2, or
by selecting it from the Setup menu.
| | 06:31 | The next thing I want to point out
really quickly is that we want to make sure
| | 06:34 | our grid is enabled.
| | 06:36 | So when it's highlighted like
this, that means it's enabled.
| | 06:38 | And we want to set our grid to 1 frame,
and we want to set our Nudge value to 1
| | 06:43 | frame. That means that basically the
gridlines that we see behind the video and
| | 06:48 | the audio are set to 1 frame each, and
when you nudge a file or a region or any
| | 06:53 | piece of the video or audio right or left,
| | 06:55 | you are going to be moving it right
or left by one frame on the timeline.
| | 06:59 | The last thing we are going to want
to do is bring up the Memory Locations
| | 07:02 | window, which is already up in the
session. But you can access it by pressing
| | 07:06 | Command+5 or Ctrl+5, and
you can see it pop up here.
| | 07:10 | You can store this anywhere
in the session that you like.
| | 07:12 | I prefer to keep it on the right side
over the Regions list because it's
| | 07:17 | kind of out of the way.
| | 07:18 | It's not on top of anything. Everybody
does it differently, so feel free to put
| | 07:22 | it where you like it.
| | 07:23 | And once we have that in place, you
can save your template, and we have a good
| | 07:27 | starting place to proceed.
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| Importing a picture file| 00:00 | Now that we've created our template,
let's create a new session based on that
| | 00:03 | template, so that we can
use that moving forward.
| | 00:06 | So wherever you saved your template,
go ahead and open that up and then go to
| | 00:10 | the File menu and choose Save As. And I
am going to name this importpic, since
| | 00:17 | that's what we are going to be doing
next. And you can find this file on the
| | 00:22 | Exercise Files > ELI_Session,
if you want to open that.
| | 00:27 | Once this is open, the next step
is going to be to import picture.
| | 00:31 | So what is picture?
| | 00:32 | Picture is basically the video file or
the visual media of whatever television
| | 00:38 | show or film or commercial, any visual
media that you may be working to, and
| | 00:43 | for the purposes of this course, it's
going to be the video element to which we
| | 00:47 | will be cutting music.
| | 00:48 | In this course, we are using a
clip from the short film ELI.
| | 00:52 | So to import, we are going to go to the File
menu, go to the Import submenu, and choose Video.
| | 00:58 | The next dialog box that opens is
asking you to find the video file that
| | 01:02 | you want to import.
| | 01:03 | So you can find the video file in
your Exercise files > ELI Session > Video
| | 01:09 | Files, and choose ELI_Clip
1, and click OK or Open.
| | 01:13 | So you can leave the location set to
Session Start for now, and make sure that
| | 01:18 | import audio from file is selected.
And this is a really handy feature because
| | 01:21 | what this allows you to do is import
an audio file that's already tied to the
| | 01:26 | picture into a track in Pro Tools.
| | 01:28 | Usually there will be some sort of a
guide track or temp music, or both, that
| | 01:33 | are associated with the picture file
and that way we can bring those into Pro
| | 01:37 | Tools and hear them.
| | 01:39 | So make sure that's selected and click
OK, and then a dialog box will pop up
| | 01:42 | that's going to ask you where you
want to save those guide tracks.
| | 01:45 | One thing that I like to do is to
keep my Audio Files folder organized with
| | 01:50 | subfolders. And you certainly don't have
to do this, but when you have a lot of
| | 01:54 | audio files it makes it very handy.
| | 01:56 | So we are going to go ahead and create
a new folder, and I am going to call it
| | 02:00 | Guide Tracks. And I am going to select
that and click Open, and that's going to
| | 02:05 | tell Pro Tools to save my
guide tracks to that folder.
| | 02:09 | If you want to save them to your Audio
Files folder, that's completely fine.
| | 02:13 | And so once it's imported into Pro Tools,
you are going to see your video file
| | 02:18 | on a track and the audio file that was
imported from that video file on the track beneath it.
| | 02:22 | You can also see those tracks on the
Track list on the left side of Pro Tools,
| | 02:28 | and you can also see a video window here
which is going to be where we will view
| | 02:33 | the picture file in Pro Tools.
| | 02:35 | For now, I am going to pull this down
to the left side of the screen, just to
| | 02:37 | kind of get it out of the way of our
audio tracks. And if you have a second
| | 02:41 | screen, you can always
put this on a second screen.
| | 02:43 | A lot of people will actually play
this video out through some sort of a
| | 02:48 | hardware device onto a television, so
you can watch the picture on a different
| | 02:52 | screen from what you're working on.
| | 02:53 | But for now, just so it's all easy to see,
we are going to keep it within this session.
| | 02:58 | And the next step is going to be to
line the picture file up with the time code
| | 03:04 | and essentially keep the picture file
in sync with Pro Tools timeline. And
| | 03:07 | before we do that, we need to get a
little bit more information on what time code
| | 03:12 | is and how it helps us keep everything in sync.
| | 03:14 | And so that's what we are
going to do in the next video.
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| What is time code?| 00:00 | As I'm sure you know, motion pictures
are comprised of a series of still images
| | 00:04 | played in succession.
| | 00:05 | When still images are displayed at a
fast enough speed, just like a flip book,
| | 00:09 | they create the illusion of motion.
| | 00:11 | Along with advances in technology and
the advent of television came the need to
| | 00:14 | synchronize multiple picture and sound
recordings, as well as the equipment used
| | 00:18 | to record and play them.
| | 00:19 | So-called SMPTE timecode solved this need.
| | 00:22 | Timecode was developed by the
Society of Motion Picture and Television
| | 00:26 | Engineers in the late 1960s.
| | 00:28 | Timecode assigns a specific numeric
value to each frame or still image of the
| | 00:32 | motion picture, which consists of a
two-digit hour, two-digit minute, two-digit
| | 00:38 | second, and two digits that
represent each individual frame.
| | 00:42 | Take a look at this clip from the
short film ELI which we will be working
| | 00:45 | with in this course.
| | 00:46 | The Timecode value has been overlaid,
or burnt in, on each frame so that every
| | 00:50 | single frame of the clip has
its own unique Timecode value.
| | 00:54 | You can see that the Timecode value
counts upward, like a digital clock, as the
| | 00:58 | story unfolds and the
picture moves forward in time.
| | 01:02 | There are a few different ways to
write timecode, if you will, but they all
| | 01:05 | convey the same timecode information.
| | 01:07 | Linear Time Code, also called
Longitudinal Time Code or LTC, is an audible
| | 01:11 | electronic signal that can be striped
onto an analog or digital recording tape
| | 01:15 | to allow the recording to
sync with other elements.
| | 01:17 | VITC, or Vertical Interval Time Code,
is timecode that is embedded in visual
| | 01:22 | media using bars of black and white.
| | 01:24 | VITC has to be recorded along with the
video content while LTC can be striped to
| | 01:29 | the media in advance;
| | 01:30 | however, VITC can be read while the
machine is stopped while LTC cannot.
| | 01:34 | We will see what's called burnt-in timecode
on our picture file throughout this course.
| | 01:39 | This allows us to visually see the
timecode on the picture as we play the session.
| | 01:43 | There are still several more types
of timecode, including MIDI timecode.
| | 01:47 | Information on these can be found online
should you want to look into them further.
| | 01:51 | Film uses 24 frames per second and is
based on the measurement of the physical
| | 01:55 | length of film in feet.
| | 01:58 | NTSC Television uses 30 frames per
second and 29.97 frames per second.
| | 02:02 | This came about because North America
uses electric power with an alternating
| | 02:06 | current of 60 cycles per
second, also known as 60 hertz.
| | 02:10 | Because electronics in North America
run on a 60-hertz power cycle, electricity
| | 02:14 | provides a natural
reference of 60 cycles per second.
| | 02:18 | Each frame of video has two fields--an
upper field and a lower field--and since
| | 02:22 | each field is synchronized to a single
cycle of 1/60th of a second, the standard
| | 02:27 | of 30 frames per second was the natural choice.
| | 02:30 | In many other parts of the world,
electrical power is based on a cycle of 50
| | 02:34 | hertz, which led to the frame
rate of 25 frames per second.
| | 02:37 | This is the frame rate of PAL,
another major broadcast standard.
| | 02:41 | With the introduction of color
television in the 1950s, the standard 60
| | 02:45 | hertz refresh rate of black-and-
white television had to be slowed down
| | 02:48 | slightly, to 59.94 hertz.
| | 02:52 | This change was necessary to
accommodate the additional color information
| | 02:55 | in each refresh cycle.
| | 02:57 | As a result, a modified frame rate was born.
| | 03:00 | The slow-down from 60 hertz to 59.94
hertz resulted in the new frame rate of
| | 03:05 | 29.97 frames per second.
| | 03:08 | Remember, each video frame has two
fields: an upper and lower field.
| | 03:12 | This frame rate was later formalized
by SMPTE with the advent of timecode.
| | 03:17 | Since most television programming
starts and ends on a strict 30- or 60-minute
| | 03:21 | schedule, drop-frame timecodes were
introduced to make the hours and minutes in
| | 03:24 | 29.97 timecode more
closely match actual clock time.
| | 03:29 | If you're wondering why timecode
didn't match clock time, imagine that if you
| | 03:32 | slowed a clock down so that it only had
59.94 seconds in a minute. Then a minute
| | 03:37 | would actually take a tiny bit longer.
| | 03:39 | That tiny bit is exactly 0.06 seconds,
so skipping the count of two frames--
| | 03:44 | 00 and 01--in every second except on
every even tenth second, The Society of
| | 03:50 | Motion Picture and Television
Engineers arrived at the drop-frame standard
| | 03:54 | that compensated for the missing
0.06 seconds and allowed timecode to
| | 03:58 | synchronize with clock time.
| | 04:00 | While there are still other variants
of timecode in use today, hopefully this
| | 04:03 | helped to clarify the origin and
practical application of timecode.
| | 04:07 | If you want to know more about
timecodes and broadcast standards, there are vast
| | 04:10 | resources available online.
| | 04:12 | Just type "NTSC," "PAL," or "timecode"
into your favorite search engine.
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| Syncing picture to Pro Tools| 00:00 | The next step is to sync our
picture with the Pro Tools timeline.
| | 00:04 | Now, typically you're going to know
exactly what the frame rate is for the
| | 00:08 | picture that you're going to be working
to--that will be either communicated to
| | 00:11 | you or typically you'll be working on
a project where that information is the
| | 00:16 | same from episode to episode or from
reel to reel, so you've already established
| | 00:21 | that--but if you don't know it for
whatever reason, there are few ways that we
| | 00:25 | can find the frame rate.
| | 00:26 | So one of those is to use QuickTime.
So let's go back to our example files, find
| | 00:31 | our Video Files folder, and select ELI
Clip 1, and open it, Command or Ctrl+O. Now
| | 00:38 | that we have this open, we can go to
the Window menu and Show Movie Inspector.
| | 00:45 | And in this Information window we can
see that the frames per second is 29.97.
| | 00:50 | So using this informational window
within QuickTime is one way to figure out
| | 00:55 | what the frame rate of your QuickTime movie is.
| | 00:58 | So we can close that and go back to Pro Tools.
| | 01:01 | So now I want to show you how to use
Pro Tools to sync a QuickTime movie with
| | 01:06 | the Pro Tools timeline, but before we
do that, I want to show you one other
| | 01:09 | way that you can sync the picture with Pro
Tools if you don't know what the frame rate is.
| | 01:14 | So in order to simulate this test,
we're going to change our frame rate so that
| | 01:19 | it doesn't match our picture file, since
we already set it up in the template to
| | 01:24 | match our picture file.
| | 01:25 | So let's go to the Setup > Session Setup window,
and let's set this to 24 frames per second.
| | 01:34 | Now we're going to use some of the
tools built into Pro Tools to spot the
| | 01:39 | QuickTime movie, and then we
can check and see if it's in sync.
| | 01:42 | So the first thing that we need to do is
we need to switch our Hand Grabber tool
| | 01:48 | to the Time Grabber tool, rather
than a Separation Grabber tool.
| | 01:53 | If you want to switch back to the
Smart tool, you're welcome to do so.
| | 01:57 | If you do, you'll see that on the bottom-
half of the region the Smart tool will
| | 02:01 | turn into the Hand tool.
| | 02:02 | Now the other thing we need to do is we
need to enable Spot mode, which you can
| | 02:05 | do by clicking the Spot mode
button or by pressing the F3 key.
| | 02:11 | If the F3 key does not do this on your
computer, you need to change a setting.
| | 02:15 | You can go to the System Preferences >
Keyboard and check the box that says Use
| | 02:21 | all F1, F2, et cetera, keys
as standard function keys.
| | 02:27 | Once that is set, you should be able
to enable or disable Spot mode with the
| | 02:32 | function key. And once Spot mode is
enabled, with the Grabber tool you can click
| | 02:37 | on the bottom-half of the region
and the Spot dialog will pop up.
| | 02:40 | Now in this case, and in the most cases,
the first frame of picture will show a
| | 02:45 | timecode. And so when you click on the
picture file in Pro Tools, you'll see the
| | 02:50 | first frame of that picture,
| | 02:52 | as we do here and we'll enter that time
code in the Start field on the Spot dialog.
| | 02:58 | So we'll type in 00:59:45:00 and
click OK, and that will snap our picture
| | 03:05 | file to that timecode.
| | 03:07 | And now what we want to do is ensure
that even though that Start frame is in the
| | 03:11 | right place, we want to ensure that it's
in sync elsewhere. And so if it's not in
| | 03:15 | sync, we'll know right away because
when we click elsewhere in the video, we'll
| | 03:19 | see that the timecodes don't line up.
| | 03:21 | Like in this case, we're off by a
second, and here we're still off by a second,
| | 03:26 | and I'm going to zoom out
and click later in the video.
| | 03:30 | When we see that the timecodes don't line up,
| | 03:32 | when we check different spots
throughout the QuickTime video, that is a clear
| | 03:36 | indicator that we're using the wrong
frame rate, that is, as long as the first
| | 03:40 | frame is in sync, which it is.
| | 03:43 | So one way, by trial and error, to find
out the correct frame rate, if you don't
| | 03:48 | have that information already or you
don't have QuickTime to figure it out, is
| | 03:52 | to go into your Session Setup and try
different frame rates until it locks up.
| | 03:57 | So let's try 29.97, which we already
know is the correct frame rate for this
| | 04:01 | video, and you can now see that by
changing the frame rate, Pro Tools timeline in
| | 04:06 | the video do not line up, so
we're going to need to spot it again.
| | 04:10 | So let's do the same thing.
| | 04:11 | We're still in Spot mode. Hand Grabber
tool on the bottom-half of the region.
| | 04:15 | When we click, it will pop-up the Spot
dialog, and we'll enter the timecode one
| | 04:20 | more time. And now we can again check
various points throughout the video, and
| | 04:27 | this time we see that it is locked.
| | 04:29 | So, essentially when you click at
different points in the video and the time-
| | 04:34 | codes between the picture file and Pro
Tools timeline are in sync, we know that
| | 04:38 | we're at the right frame rate.
| | 04:40 | So now that we have our picture file in
place, we want to move our audio file to
| | 04:45 | the right place as well.
| | 04:47 | One of the quickest ways to do this is
to use the Snap feature in Pro Tools,
| | 04:51 | and what that does is it allows you to snap
any audio file to the location of your cursor.
| | 04:56 | So by double-clicking with the
cursor our video file, the beginning of our
| | 05:01 | selection is selected, and by using the
Hand Grabber tool and the Ctrl key, we can
| | 05:07 | snap our audio file to that same location.
| | 05:11 | So by holding down the Ctrl key and
clicking with the Hand Grabber tool, our
| | 05:16 | audio file is going to snap to the
beginning of the cursor or the selection,
| | 05:21 | which in this case is the exact length
of our picture file. And this will work
| | 05:26 | again in Grid or Slip mode, so let's go
into Grid mode, hold down the Ctrl key,
| | 05:31 | and click in the bottom half of the
region, and our audio file is going to snap
| | 05:36 | to be perfectly aligned with our picture file.
| | 05:38 | Now there is another way you can do this.
| | 05:40 | So I'm going to undo, Command+Z or
Ctrl+Z. And if you stay in Spot mode, you can
| | 05:45 | quite simply do the same thing you did
with the picture file. Enter the time
| | 05:49 | code again and you get the same result.
| | 05:53 | Now I'm going to zoom this picture and
audio region to the full width of the
| | 05:57 | screen using a key command Option+F
or Alt+F. Now that we've zoomed our
| | 06:03 | region selection to the width of the
Pro Tools Edit window, one of the things
| | 06:07 | that I like to do, once we've gotten our
picture in sync, is to lock the video and
| | 06:12 | audio file so that they
can't accidentally be moved.
| | 06:14 | So I'm going to put us back in Grid
mode, and I'm going to use Ctrl+L or Command+L
| | 06:19 | to lock the audio file.
| | 06:21 | I'm going to select the
video file and lock it as well.
| | 06:23 | And this is very handy because in case
you accidentally grabbed or bumped or
| | 06:27 | moved a region, you're going to get a
little warning dialog box that asks you if
| | 06:31 | you are sure you want to do this.
| | 06:33 | A lot of people like to do
this; a lot of people don't.
| | 06:35 | You can do it however you like, but
this is, for me, a nice safety feature
| | 06:39 | in case you accidentally move
something that you didn't mean to move.
| | 06:43 | One last thing I wanted to point out is
that when the picture files burn-in and
| | 06:47 | the Pro Tools timeline don't match, it
is often an indicator that we're using
| | 06:52 | the wrong frame rate.
| | 06:53 | But every once in a while, due to an
anomaly with computer software or hardware
| | 06:59 | malfunction, there may be a missing
frame, literally a missing frame of still
| | 07:04 | image in the picture file or in the
burn-in itself, and when that happens it
| | 07:09 | can cause a single-frame difference
between the burn-in on the picture and the
| | 07:15 | Pro Tools timeline, and you will see
that single-frame difference recurring by
| | 07:19 | the exact same amount.
| | 07:20 | And typically when that dropped frame
happens it's something you can fix, but
| | 07:25 | it may not be. And we're not going to
go into that so much in this course, but
| | 07:28 | I just wanted to bring it up in case,
perhaps on another project that you're working on,
| | 07:32 | if you ever see something like that,
you're aware that it is a possibility and
| | 07:36 | that it does happen.
| | 07:37 | If in doubt, you can always get a new
video from the production that you're
| | 07:40 | working, or possibly fix it yourself.
| | Collapse this transcript |
| Importing audio files| 00:00 | Now that we have our picture file
synced up with our Pro Tools timeline, the
| | 00:04 | next thing we need to do
is import our audio files.
| | 00:07 | There are several ways you can do this.
| | 00:09 | You can drag the audio file directly
onto the Pro Tools icon; you can also drag
| | 00:14 | the audio file into the Pro Tools
timeline; or you can import the audio file
| | 00:19 | from the menu or the Region list.
| | 00:21 | The easiest way to do this is through
the File menu in Pro Tools, the Import
| | 00:26 | submenu, and Import > Audio, since we
are going to be importing an audio file.
| | 00:30 | You can also use the key command if
you would like: Shift+Command+I or
| | 00:33 | Shift+Ctrl+I. And we are going to locate,
in the ELI_Session > Audio Files folder,
| | 00:39 | we are going to locate the
Example Music, and we can see four files.
| | 00:45 | So here we see the left and the right
of two different songs, and the reason we
| | 00:49 | have four files is because in Pro Tools
a stereo file is going to be split into
| | 00:54 | two separate left and right elements.
| | 00:57 | So for now we are just going to import
the first song, and you can see by the Bit
| | 01:01 | Depth that it's already 24 bits and the
Sample Rate is already 48 kHz, which is
| | 01:07 | exactly the same as what we are
using in our Pro Tools session.
| | 01:11 | And Pro Tools will also tell you that
this audio file can be added directly to
| | 01:16 | the current session.
| | 01:17 | So when it says that, we know
that we don't have to convert it;
| | 01:19 | we can simply add it.
| | 01:21 | In this case, it's already in our Audio
Files folder, so that's what we are going to do.
| | 01:24 | You can select Add by hitting Enter, and
you can click Done or press Command+W or
| | 01:29 | Ctrl+W to close this window. And we
are going to put this in the Region List,
| | 01:33 | so click OK. And let's close the
Memory Locations, so that we can see the
| | 01:38 | Region List, which is again Command+5
or Ctrl+5 on the numeric keypad. And then
| | 01:45 | to bring this into our timeline, we
can literally just click and drag the
| | 01:50 | region into a track.
| | 01:52 | So now we have imported the first
song that we are going to be editing.
| | 01:55 | One last thing I wanted to point out
is that if we were importing a song that
| | 02:00 | was not already at 48 kHz, we might need to
convert it to make it work with the session,
| | 02:06 | so let's do that real quick.
| | 02:08 | We won't actually import it, but
we will just walk through the steps.
| | 02:11 | So again, we are going to import through
the File menu, but this time go to the
| | 02:16 | Example Music folder outside of the ELI_
Session and choose the MP3 file. And here
| | 02:22 | you can see the Bit Depth is 16
bits and the Sample Rate is 44.1 kHz.
| | 02:28 | And again, Pro Tools tells you that this
file must be converted because it's not
| | 02:32 | an audio file type that
Pro Tools can use directly.
| | 02:34 | So that also is at a different sample
rate, and it needs to be split into two
| | 02:40 | mono files to work in Pro Tools.
| | 02:42 | So those reasons are going to
require that we convert this audio file,
| | 02:45 | rather than add it.
| | 02:46 | So if we wanted to add this file, we
would click Convert, or Command+C or Ctrl+C
| | 02:52 | will do the same thing.
| | 02:53 | Since we are not going to do it, we are
just going to hit Escape and get out of
| | 02:56 | this window and back into our session.
| | 02:59 | That's how easy it is to import
your music into the Pro Tools session.
| | Collapse this transcript |
|
|
2. Editing Audio and Maneuvering in Pro ToolsUsing the Zoom and View commands| 00:00 | In this video, I'd like to give you an
overview of the viewing and zoom features
| | 00:05 | and tools in Pro Tools.
| | 00:06 | I'm sure that David Franz's Pro Tools 9
Essential Training course covers most of these tools,
| | 00:11 | but I'm going to go over them--
specifically the ones that we're going to use
| | 00:15 | through the rest of this course.
| | 00:16 | So the first one that I want to
point out we touched on briefly before, is
| | 00:20 | the Single Zoom tool.
| | 00:21 | And in the top of the toolbar here, you
can see the Zoom icon without the arrow
| | 00:27 | is Normal Zoom, and what this does is it
allows you to use the Zoom tool and stay
| | 00:31 | on the Zoom tool after having used it.
| | 00:33 | So you can click and you're still with
the Zoom tool if you want to zoom again.
| | 00:37 | If you hold Option or Alt
and click, it'll zoom out.
| | 00:42 | If you change the Zoom tool to Single
Zoom, it's going to return you to the
| | 00:45 | previously selected tool after you zoom.
| | 00:48 | So if you click, it will return you
to your Smart tool if that was the last
| | 00:52 | tool you had selected.
| | 00:53 | Now, the next thing I want to show you
are a couple of ways to get to and toggle
| | 00:57 | between the different Zoom tools
without having to click with the mouse.
| | 01:02 | So the two key commands that will
access the Zoom tool are the F5 key
| | 01:06 | command--and if you press it again,
it will toggle to the other Zoom
| | 01:10 | function--and the other key command is
Command+1 or Ctrl+1, which does exactly the same thing.
| | 01:17 | So you can quickly get to your Zoom
tool and back to your other tools by
| | 01:21 | pressing either of those key commands,
doing your zoom, and ready to edit right away.
| | 01:27 | The next thing I want to show you is
how to zoom in and out with the key
| | 01:30 | commands for zooming.
| | 01:32 | The most common ones are Command+Left Bracket or
Ctrl+Left Bracket to zoom out, and
| | 01:37 | right bracket to zoom in.
| | 01:40 | If you have Command Focus enabled, which
you can see with this little yellow A to
| | 01:44 | Z button on the top-right of the Edit
window, just next to the Region List,
| | 01:49 | you can then use the R key to
zoom out and the T key to zoom in.
| | 01:54 | If you want to zoom in on your waveform
vertically, the key command to do so is
| | 01:58 | Command+Option+Right or Left Bracket or
Ctrl+Alt+Right or Left Bracket.
| | 02:01 | Left bracket will zoom you out,
and right bracket will zoom you in.
| | 02:07 | This is particularly useful when you're
trying to find a zero crossing or a very
| | 02:11 | small detail in the waveform.
| | 02:13 | You may often need to zoom in to see it,
because it may not be large enough to
| | 02:17 | see without zooming in.
| | 02:19 | One other way that a lot of people like
to zoom and navigate within the session
| | 02:22 | is using the scroll wheel on the mouse.
| | 02:24 | If you hold the Shift key and scroll
up or down, it will scroll your session
| | 02:29 | view left and right.
| | 02:30 | If you hold the Option or Alt key
and scroll up or down, it will zoom your
| | 02:36 | session view in and out.
| | 02:38 | If you hold the Shift+Option keys or
Shift+Alt keys and scroll up or down, it
| | 02:43 | will zoom your waveform in and out vertically.
| | 02:46 | There are two more features that I want
to discuss, which are quick keys to allow
| | 02:50 | you to quickly see large
sections of your session.
| | 02:53 | One of my favorites is the key command
Option+A or Alt+A. By pressing this key
| | 02:58 | command, it's going to zoom from the
very beginning of your Pro Tools timeline
| | 03:02 | to the very end of the
last region in your session.
| | 03:05 | So here I go pressing Option+A or Alt+A, and I
can now see my entire session in one view.
| | 03:11 | A second key command that does a
similar function is the Option+F or Alt+F key.
| | 03:16 | If I want to just view a selected
region perhaps I want to just view the audio
| | 03:20 | from my video, I will select it by
either double-clicking with the Selector
| | 03:24 | tool or single-clicking with the Hand
Grabber tool and then press Option+F or
| | 03:28 | Alt+F, and it'll zoom just that selected
region to the width of my Edit window.
| | 03:34 | One other tool that I find extremely
useful that I will definitely be using
| | 03:37 | further in this course is
the Zoom Toggle feature.
| | 03:41 | What this does is it allows you to zoom
in, much like Option+F, on any single track.
| | 03:46 | However, you can set the height of
the track as well, so you can zoom in to
| | 03:50 | a much larger view.
| | 03:52 | So this is accessible by using the E
key with Command Focus enabled, and you can
| | 03:58 | also see a button up on the top-left
of the toolbars called Zoom Toggle that
| | 04:03 | allows you to enable or disable this function.
| | 04:06 | So if I wanted to zoom my entire music
file to a larger view using this Zoom
| | 04:12 | Toggle Feature, I would press the E key.
And it zooms not only the left and the
| | 04:16 | right ends of the file to the same
width as my Edit window, but it also makes
| | 04:21 | the track as tall as your Zoom Toggle
preference is set to. And you can change
| | 04:25 | this by making the track larger or
smaller with Zoom Toggle enabled.
| | 04:30 | You can tell it's enabled when
the button is blue, or highlighted.
| | 04:34 | So if I want to make the track larger,
there are a couple of ways to do this--
| | 04:37 | one is to literally click and drag the track.
| | 04:40 | At the bottom end of the track here,
you can click and drag it and make it
| | 04:42 | larger or smaller. Or you can use the
Ctrl+Up Arrow to make the track larger or
| | 04:47 | the Ctrl+Down Arrow to make the track smaller.
| | 04:50 | So for now we're going to set it right
about here, and by pressing the E key again,
| | 04:54 | I can toggle back to my previous Zoom
state. And then I press Option+F or Alt+F
| | 04:58 | again to view just the selection.
| | 05:00 | One last very useful feature in Pro
Tools is the zoom presets, and you can
| | 05:05 | see these up here just to the right of the
grid modes and just to the left of the tool modes.
| | 05:10 | You see the numbers 1, 2, 3, 4, and 5,
and those allow you to set and recall
| | 05:16 | different zoom states or
different levels of zoom very quickly.
| | 05:20 | So if we press the 1 key, we're
going to see what that zoom setting is.
| | 05:24 | If we press 2, we'll see the
next zoom setting. 3, 4, and 5.
| | 05:30 | So you can see that right now they're set
to progressively zoom further and further in.
| | 05:34 | I am going to return to the previous
view by pressing Option+F or Alt+F. Now, the
| | 05:39 | other thing that you can do with these
is you can set them to exactly the level
| | 05:42 | of zoom that you want to use.
| | 05:45 | So the way you do this is by pressing
and holding Command or Ctrl and clicking
| | 05:50 | the Zoom button that you want to set
while you are at that level of zoom.
| | 05:55 | So if I wanted to make zoom level 1 the
same view that I have, or the same level
| | 06:00 | of zoom that I have currently displayed,
I would Command+Click the 1 button, and
| | 06:06 | it will flash, indicating
that it has been changed.
| | 06:08 | So now I can zoom in or out with any of
the key commands that we've covered and
| | 06:12 | press 1 to return to that same level of zoom.
| | 06:16 | You'll notice that it's not the
same centering because that is using a
| | 06:19 | different key command.
| | 06:20 | If I want to return to that same
centering, again with the file selected, I would
| | 06:24 | use the Option+F or Alt+F key command.
| | 06:26 | Now, I know this is a lot of
information, and I know we've covered it very
| | 06:30 | quickly, so please feel free to go
back and re-watch this video if you want.
| | 06:35 | But it is very important for any
editorial circumstance, because we're going to
| | 06:39 | be, in many of these cases, needing to
quickly be able to zoom in, find what we're
| | 06:43 | looking for, zoom out, and go about our
work. And we don't want to be slowed down
| | 06:46 | by having to click the mouse to find
the buttons or tools that we want to use,
| | 06:51 | so we need to be able to
quickly get about our business.
| | 06:54 | So an example of how we could use all
of these zoom techniques to navigate our
| | 06:58 | session in a real-world example,
| | 07:00 | if I wanted to quickly find a point in
this song to make an edit, perhaps make a
| | 07:05 | selection and copy a section of the
song--whatever the purpose might be--
| | 07:08 | I'm going to want to get there
quickly rather than having to click with the
| | 07:12 | mouse to find the tool.
| | 07:13 | So perhaps I want to go to a
specific location in this song.
| | 07:17 | The first thing I might do is use
the E key to open up my view, use the
| | 07:21 | Command+1 or Ctrl+1 key to select the Zoom tool, and
| | 07:25 | I'll make a selection to zoom in.
| | 07:27 | Perhaps I want to find the first
transient of where this section starts.
| | 07:31 | I can click there, maybe zoom in with a
different Zoom tool to get a little closer.
| | 07:35 | There I used Command+Left Bracket or Ctrl+Left
bracket, Right Bracket, or the R and T keys
| | 07:40 | with Command Focus enabled.
| | 07:42 | And perhaps I want to make my edit
there or make a selection and copy.
| | 07:46 | When I'm done, I'll use the E
key one more time to zoom back out.
| | 07:50 | So E, Command+1, Zoom, click, T, T, T,
selection, maybe I want to copy it,
| | 07:57 | E, zoom out.
| | 08:00 | One more thing that I wanted to show
you is how to resize the video window.
| | 08:03 | Perhaps you have a very small
display or a very large display or a second
| | 08:07 | monitor and you want to put it
on a different monitor altogether.
| | 08:10 | One way to do it is to right-click on
the video window and you can choose many
| | 08:14 | settings from in here.
| | 08:15 | Perhaps you want to make it half size,
actual size, double size--all these
| | 08:20 | ways are quick ways to resize the video.
Or perhaps you want a custom size in between,
| | 08:25 | so take your mouse to the bottom right-
hand corner and you'll see the mouse turn
| | 08:29 | into a Resize tool, and you can
simply drag the video to the desired size.
| | 08:34 | The last thing I want to show you is
how to close the Track and Region lists
| | 08:38 | should you perhaps need more space on a
small screen, or should you want to open them.
| | 08:43 | There is a small arrow with a line next
to it on each side of your Edit window.
| | 08:48 | By clicking that arrow, it's going to
close the associated window. And you'll
| | 08:52 | see again, by clicking it once it's
closed, it will open that window.
| | 08:56 | So now that we've gone over the View
and Zoom commands within Pro Tools, I want
| | 09:01 | to show you quickly how to use
them to customize your session.
| | 09:04 | You can leave it however you like.
| | 09:06 | I'm going to set this one up in a particular
manner that's a little easier for me to view.
| | 09:10 | So perhaps we want to make this smaller
window down in the bottom corner so we
| | 09:14 | have more edit space above.
| | 09:16 | Another thing that I like to do is make
the video region smaller. By clicking on
| | 09:20 | it, using the key command
Ctrl+Command, or Ctrl+Start+Left,
| | 09:25 | we can turn off the Thumbnail
Previews, and Ctrl+Down, which we did before,
| | 09:30 | will shrink the video.
| | 09:32 | And because we don't need to see
that track, it makes it a little easier.
| | 09:35 | You reclaim more space on your screen.
| | 09:37 | And again I will resize it two bin
tracks using the Ctrl+Down key command, so
| | 09:42 | that they don't take up so much space.
| | 09:44 | So feel free to set the session up in
whatever way makes it most comfortable for you.
| | 09:49 | I've gotten mine to a place where I
am happy with the layout and so now
| | 09:52 | I'm ready to move on.
| | Collapse this transcript |
| Utilizing the edit modes| 00:00 | While we're primarily going to be
using the Grid mode for the rest of this
| | 00:04 | course, I did want to take a minute
to show you few of the functions of
| | 00:07 | the other edit modes.
| | 00:08 | If you look in the top left-hand corner of the
Pro Tools Edit window, you'll see four buttons.
| | 00:14 | These are the Shuffle, Slip, Spot, and
Grid Edit modes. And you can access these
| | 00:18 | by pressing F1 for Shuffle, F2 for
Slip, F3 for Spot, and F4 for Grid.
| | 00:26 | You'll notice to the right of the Grid mode,
| | 00:28 | there's a little triangle.
| | 00:29 | Now you can click that and you
get Relative Grid or Absolute Grid.
| | 00:33 | You can also press the F4
key again to toggle that.
| | 00:37 | Now, earlier when we set up the
template, we locked Shuffle mode.
| | 00:41 | Let's unlock that again by
Command+Clicking or Ctrl+Clicking it so that we can
| | 00:45 | use that mode quickly to go over what that does.
| | 00:48 | So let's go into Shuffle mode by
pressing F1, and I'll show you quickly what
| | 00:52 | this is very useful for.
| | 00:54 | So I'm going to zoom in our waveform here.
| | 00:57 | I'm going to select a small section,
and say I wanted to remove that section
| | 01:04 | from the song, but have the song play
continuously as if it was not there.
| | 01:08 | Now this is just a really rough edit.
| | 01:10 | It's probably not going to sound
musical, but you'll be able to see what will
| | 01:13 | happen if I remove this. So in Shuffle mode when
I delete a section, the section after the selection that
| | 01:19 | is going to be deleted will snap
to the beginning of that selection.
| | 01:23 | So essentially, it's shuffling
everything after your edit forwards, and this is
| | 01:27 | very handy for certain types of editing.
| | 01:30 | We probably will not be using this in
our course because most of what we're
| | 01:33 | going to be doing is using the
picture as a grid, or as a ruler, to work to.
| | 01:38 | So let's undo that, which you can do
with Z if Command Focus is enabled, or
| | 01:42 | Command+Z or Ctrl+Z otherwise, and
let's go into Slip mode by pressing F2.
| | 01:47 | Now in this mode, the grid
is essentially deactivated.
| | 01:51 | You can click anywhere on any audio
file and you're going to have sample
| | 01:55 | resolution, which means you can zoom in and
click anywhere, as far as a single sample.
| | 02:02 | Let's use our key command that we learned
earlier for zoom level 5, pressing the 5 key.
| | 02:07 | We're going to zoom in a little bit
further until we cannot zoom in any
| | 02:10 | further, just a few clicks.
| | 02:13 | I'm going to use the E key to expand
the waveform, and you can see here we're
| | 02:18 | zoomed in so far there's
really not much to look at.
| | 02:20 | Let's maybe expand vertically the
waveform by using Command+Option or
| | 02:24 | Ctrl+Alt and the right toggle,
| | 02:27 | and now we can see literally
the waveform at the sample level.
| | 02:31 | So in Slip mode, we can click on any
single sample, and you can see them by the
| | 02:36 | lines that are actually drawn together.
| | 02:39 | So that is so deep into resolution that
you're literally looking at a snapshot
| | 02:44 | in time 1/48,000th of a second, if
you're working at 48 kHz, which we are.
| | 02:50 | So Slip mode is very handy for being
able to work at very detailed resolutions,
| | 02:55 | which for music is very essential
because often times the downbeat of a section
| | 02:59 | or the piece of music that you want to
grab will not happen to land on a grid.
| | 03:03 | The next mode is Spot, F3, which we
already used to spot our picture file and
| | 03:08 | our audio file when we imported those earlier.
| | 03:11 | What that does, one more time, is when
you click on file with Spot mode enabled,
| | 03:15 | it brings up the Spot Dialog.
| | 03:17 | And with this you can spot a file using
timecode or any other means of reference
| | 03:23 | to a start point of the file; a sync
point, which we're going to get into a
| | 03:27 | little bit more later; or
the End point of a file.
| | 03:30 | You can even spot to subframes, and if
file was time-stamped, you can use the
| | 03:34 | file's own time stamp to
spot it to a specific location.
| | 03:38 | And the last two modes of Grid
mode are what we're going to be using
| | 03:41 | primarily for this course.
| | 03:43 | What Grid mode does is it allows you to
have a built-in ruler that you can use
| | 03:48 | as a guide for a specific duration in time.
| | 03:51 | So using the Option+F or Alt+F key
command, I'm going to zoom back out to the
| | 03:54 | width of this audio file that's
selected, and I'm going to zoom back out of the
| | 03:58 | waveform using Command+Option+Left Bracket.
| | 04:03 | So there's our waveform
for that whole song again.
| | 04:05 | So in Grid mode, if I click in any one
location, I'm clicking right on whatever
| | 04:10 | my Grid mode is set to.
| | 04:12 | So we've already set in our template--
our Grid is set to one frame--but we could
| | 04:16 | make that any different value.
| | 04:18 | It could be a second, 5 frames,
1 frame, even 1 sub-frame.
| | 04:22 | And also, if we change our main
timeline to use a different division than time
| | 04:26 | code, we could maybe make say bars and
beats--if we had our Grid set to an actual
| | 04:31 | bar and beat count that matched with our song,
| | 04:33 | we could set our grid to a half note
or a bar or a quarter note, which is very
| | 04:38 | useful for musical composition.
| | 04:40 | But for now, we're going to use time
code because we're working with picture and
| | 04:44 | we need to sync with that.
| | 04:45 | So zooming in, let's use zoom
level 4 by pressing the 4 key.
| | 04:50 | You can see that each grid
moves the picture forward one frame,
| | 04:55 | and that's because we have
set our grid to a single frame.
| | 04:58 | You can also see that if I click
between the grids, it snaps to the closest
| | 05:02 | grid. And this is a handy feature when
working with Grid mode, but sometimes
| | 05:07 | when you're editing music, you want to
be able to edit in between the grids.
| | 05:10 | So now if I wanted to make an edit on
the beginning of this large transient
| | 05:15 | here, I would either need to move to
Slip mode or edit in between the grid, and
| | 05:19 | there is a way that you can edit
in between the grid in Pro Tools.
| | 05:22 | So first, let's zoom in a little bit further.
| | 05:25 | I'm going to press Command+1 or Ctrl+1
and zoom in with the Zoom tool. And now I
| | 05:30 | can really see the start of
the waveform that I want to edit.
| | 05:33 | So on a Mac, I can Command+Click and
that will make a selection off of the grid
| | 05:38 | while I'm still in Grid mode.
| | 05:40 | On Windows, you can Ctrl+Click.
| | 05:43 | The second Grid mode that I want to
show you is what's called Relative Grid.
| | 05:47 | So let's enable Relative Grid by
pressing F4 again, and from where we are, let's
| | 05:52 | make an edit with the current selection.
| | 05:55 | And you can make an edit by pressing
Command+E to simply cut, or you can press
| | 05:59 | the B key, with Command Focus enabled,
and that's simply going to slice the audio
| | 06:03 | file right at the location where we are.
| | 06:05 | So now that we've made this edit,
let's select the region following the edit.
| | 06:09 | You can do so by single-clicking with
the Grabber tool or by double-clicking
| | 06:13 | with the Selector tool, and you've
now selected the region after the edit.
| | 06:17 | And then we want to
nudge this one frame earlier,
| | 06:21 | but I want to do it so that it retains
the same offset from the grid, which is
| | 06:25 | why we're in Relative Grid mode.
| | 06:27 | So to nudge earlier, use the minus key
on the numeric keypad, and you can see
| | 06:32 | that it moves that selection one frame
earlier but remains relative to the grid,
| | 06:38 | rather than snapping directly to the grid.
| | 06:40 | Using the plus key, let's put it back
where it was, and let's switch our mode
| | 06:44 | back to the Regular Grid mode by pressing F4.
| | 06:47 | Let's do the same thing with the
minus key, and you can see that it's going
| | 06:51 | to stay off the grid.
| | 06:53 | Now, if you grab with the Hand tool and
move it left in Grid mode, you'll see
| | 06:58 | that it's going to snap to the nearest grid.
| | 07:00 | Undo to get it back to where it was,
and go back into Relative Grid mode and
| | 07:05 | grab with the Hand tool and do the
same maneuver, and you'll see that it
| | 07:08 | stays off of the grid.
| | 07:10 | So that's the main difference for using
these two different types of Grid mode.
| | 07:14 | One is to stay really on the grid no
matter what you do, and the other is to
| | 07:19 | stay relative to the grid no matter what you do.
| | 07:21 | So let's undo and get this session
back to where it was, until you've seen
| | 07:27 | the edit disappear.
| | 07:28 | So now let's zoom back out all the way
so we can see the full session, switch
| | 07:32 | ourselves back to Regular Grid mode, and
Command+Click or Ctrl+Click the shuffle
| | 07:36 | lock to enable that.
| | 07:38 | Now that we've seen the Edit modes that
can be used, you can choose which one is
| | 07:41 | best for your project.
| | 07:43 | Moving forward in this course,
we'll primarily be using Grid mode.
| | 07:46 | If you'd like to learn more about
modes and tools and all of the editing
| | 07:50 | functionality in Pro Tools, check out
the Pro Tools 9 Essential Training course
| | 07:54 | with David Franz right here on
lynda.com's Online Training Library.
| | Collapse this transcript |
| Navigating with key commands| 00:00 | So now that we're comfortable with the
different zoom and view commands in Pro
| | 00:03 | Tools and we've also seen the edit modes,
| | 00:06 | let's go over a little bit of
navigating within Pro Tools.
| | 00:09 | Now the most common way to do this
is to use the mouse, and you can always
| | 00:12 | click exactly where you want to place
your cursor and make a selection exactly
| | 00:16 | where you want to select.
| | 00:18 | But there are several very handy quick
keys in Pro Tools that allow you to do
| | 00:22 | many powerful edits and many quick
maneuvers without having to use the mouse.
| | 00:28 | Those are something that will save
you a lot of time in your projects,
| | 00:31 | so let's go over some of those.
| | 00:33 | The first thing we want to do is
make sure that Command Focus is enabled.
| | 00:36 | So if you look at the top right-hand
corner of your Edit window, you'll see the
| | 00:39 | yellow AZ button, which means that
Command Focus is enabled and all of your
| | 00:44 | single key commands will work.
| | 00:46 | The first key command I want to show
you is the key command that allows you to
| | 00:49 | move your selection up to the next
track above the current selection.
| | 00:54 | You can do this using the P
key with Command Focus enabled.
| | 00:57 | So by pressing the P key, you can see that
my selection moves up to the track above it.
| | 01:03 | Similarly, if you use the semicolon key,
which is directly below the P key on the
| | 01:07 | keyboard, you will move
your selection down a track.
| | 01:11 | By holding the Shift key with either of
these, I can select the next track up or
| | 01:15 | down, but also keep my current selection.
| | 01:18 | So if I wanted to select the track
above the track that I have selected, I can
| | 01:22 | hold Shift and press P and
now they're both selected.
| | 01:26 | If I wanted to add the track below to
my selection, I can hold Shift and press
| | 01:31 | semicolon and now all three are selected.
| | 01:34 | Similar to the up and down selections,
there is also a quick key for moving
| | 01:38 | left and moving right.
| | 01:39 | So let's click our cursor on
the audio track from the ELI clip.
| | 01:43 | If I wanted to move my cursor to the
left side of that region, I can do so using
| | 01:48 | the L key with Command Focus enabled.
| | 01:52 | Similarly, if I want to move my cursor
to the right side of a region, I can use
| | 01:56 | the apostrophe, or single quote, key.
| | 01:59 | Just like we could do moving up and
down and maintaining our selection, we can
| | 02:03 | also do moving left and right.
| | 02:05 | So let's click again on the ELI
audio file, somewhere in the middle.
| | 02:10 | If I wanted to make a selection from my
cursor to the beginning of this region,
| | 02:15 | I can hold the Shift key and press the
L key, and it's going to move the cursor
| | 02:20 | to the left, but maintain the
selection from everything in between.
| | 02:25 | Let's click again on the ELI
audio track, somewhere in the middle.
| | 02:28 | And if I wanted to do the same thing
but select to the end, I would hold the
| | 02:32 | Shift key and press the
apostrophe, or single quote, key.
| | 02:35 | Now, there are several other ways to
move left and right within tracks, and
| | 02:40 | these, in my opinion, are one of the most
powerful editing features in Pro Tools.
| | 02:44 | So essentially, what we've just seen
with L and the single quote, or apostrophe,
| | 02:48 | key can be done using
combinations of the Tab key.
| | 02:52 | So the most common use of the Tab key is
to move from one end of a region to the
| | 02:58 | next edit within a region, to the
end of the region, and so forth.
| | 03:02 | So let's click to the left of the ELI
region on the ELI_Clip 1 audio track
| | 03:08 | and press the Tab key.
| | 03:09 | You'll see that the cursor jumps
to the beginning of that region.
| | 03:13 | If you press the Tab key again, you'll
see that it jumps to the end of the region.
| | 03:18 | Now, if I want to jump back to the
beginning of the region, I can press the
| | 03:22 | Option key and tab again, and
it's going to move backwards.
| | 03:26 | So to move forwards, we press Tab; to
move backwards, we press Option+Tab.
| | 03:31 | If we want to make a selection and also
retain our start position, just like we
| | 03:36 | did using the L and apostrophe, or
single quote keys, we can hold Shift.
| | 03:41 | So if I press Shift+Tab, it's going to
jump to the end of this region and also
| | 03:46 | maintain the selection from
where my cursor is currently.
| | 03:50 | So now let's make a selection in the
middle of that clip again, and let's go
| | 03:54 | back to the beginning.
| | 03:55 | And just like Option+Tab will move us
forward, Shift+Option+Tab will move us
| | 03:59 | forward and make a selection.
| | 04:01 | Now, a third thing that you can do with
the Tab keys that's very, very useful
| | 04:06 | involves the Ctrl key.
| | 04:07 | So let's click again to the left
of the region and press Ctrl+Tab.
| | 04:12 | What this will do is jump to
the next region and select it.
| | 04:17 | If we want to do the same thing in
reverse, let's click after the region, and
| | 04:21 | press Ctrl+Option+Tab and it's going
to jump backwards using Option+Tab, and
| | 04:26 | Ctrl will make it select the previous region.
| | 04:29 | So these are some very handy ways to
quickly select regions within a session.
| | 04:34 | You can use this to copy, move,
cut--any number of editorial uses.
| | 04:40 | So, for example, if I wanted to make
this selection on multiple tracks and
| | 04:45 | perhaps I also wanted to
select to the end of this track,
| | 04:49 | I could use the Shift key, and the
apostrophe, or single quote, key, or Shift+Tab,
| | 04:53 | and it will keep my current selection
and also move to the end of that track
| | 04:57 | that I have selected.
| | 04:58 | So I'm going to zoom back out to see
exactly what my selection is, using Option+F
| | 05:02 | or Alt+F. Now, we can click
somewhere else in the session.
| | 05:05 | Let's look at this audio file here.
| | 05:07 | I'm just going to click somewhere in
the middle of it. And I wanted to show you
| | 05:10 | one other use of tabbing in Pro Tools.
| | 05:13 | So right now we're using tabbing
without Tab to Transient enabled.
| | 05:18 | You may have noticed in your session,
if you're using a different copy of the
| | 05:22 | session than our example
materials, that it's behaving differently.
| | 05:26 | If so, that's because you have Tab to
Transient enabled, which is this button
| | 05:30 | right here underneath the tool selection.
| | 05:33 | If it's blue, it's enabled.
| | 05:34 | You can also enable or disable it with
the key command Command+Option+Tab on a
| | 05:39 | Mac, or Ctrl+Alt+Tab on a PC.
| | 05:43 | So let's enable Tab to
Transient and we can see what this does.
| | 05:47 | First thing we should do is zoom in a
little, so we can really see clearly
| | 05:50 | what's going to happen.
So let's use the zoom level 4 by pressing 4.
| | 05:55 | When you press the Tab key, you will now
see that when you move forward, instead
| | 05:59 | of moving to the end of a region, it's
going to move to the next transient after
| | 06:02 | your cursor's location.
| | 06:03 | If we press Tab again, it's going to
continue doing this through the audio file.
| | 06:09 | Just like moving from the end to the
beginning of a region, Option+Tab will
| | 06:13 | move you backwards.
| | 06:15 | Shift+Tab will move you forward with
the selection; Shift+Option+Tab will move
| | 06:19 | you backwards with the selection.
| | 06:21 | So these are common themes in Pro
Tools, and they actually function with other
| | 06:25 | key commands as well--
| | 06:26 | very, very handy stuff to know.
| | 06:28 | So one quick practical example of this
is perhaps I want to copy the selection
| | 06:34 | that I've made and move it onto the track below.
| | 06:36 | We can copy with Command+C or Ctrl+C--
or simply C if you have Command Focus
| | 06:42 | enabled--move our selection down to the
track below with the semicolon key, and
| | 06:47 | paste with Command+V, or Ctrl+V--or
simply V if you have Command Focus enabled.
| | 06:52 | So now you can see one quick
application of using these tools to navigate
| | 06:57 | and edit more quickly.
| | 06:58 | So let's undo that:
| | 06:59 | Command+Z or Ctrl+Z or just the Z
key. And I'm going to disable Tab to
| | 07:04 | Transient now by either
clicking on the button or by pressing
| | 07:07 | Command+Option+Tab or Ctrl+Alt+Tab.
| | 07:12 | So we've already seen that you can copy
and paste without using Command or Ctrl,
| | 07:17 | which is a unique feature in
Pro Tools, and very time saving.
| | 07:20 | Another thing that you can
do along those lines is cut.
| | 07:23 | So let's move our
selection back up with the P key.
| | 07:25 | If I wanted to cut this selection out,
I can simply press X. As long as Command
| | 07:30 | Focus is enabled, I don't need
to also hold Command or Ctrl.
| | 07:33 | I'm going to undo that, get us back to
normal, and I'm going to press Option+A
| | 07:38 | or Alt+A to zoom out and view my whole session.
| | 07:41 | Basically, the purpose of these tools
is to develop a facility with moving
| | 07:45 | around the Edit window and
selecting regions without using the mouse.
| | 07:49 | So feel free to try these out on your
own and become comfortable with them, as
| | 07:54 | they will make all of your
editing tasks much easier.
| | Collapse this transcript |
| Creating and using sync points| 00:00 | Now that we are comfortable navigating
the Edit window with key commands, let's
| | 00:04 | talk about sync points.
| | 00:05 | A sync point is a very handy marking
system within Pro Tools that allows you
| | 00:10 | to place a marker on a region or audio file
that will follow the region or audio file.
| | 00:16 | So it's different than a
typical marker in Pro Tools.
| | 00:19 | It's more of an identifier that says,
at this point, at this sample, in this
| | 00:23 | region, remember this location so
that I can return to it quickly using the
| | 00:28 | navigation techniques and the spotting
techniques that we've covered and will
| | 00:31 | cover further in the next video.
| | 00:33 | So let's talk about making a sync
point, and let's actually walk through
| | 00:37 | the steps of doing it.
It's pretty simple.
| | 00:38 | We have already got a small selection
on the region from the song Leebock 2,
| | 00:43 | so let's use the E key command to zoom
toggle and bring that up to full-screen,
| | 00:49 | and let's zoom in again by selecting
the Zoom tool--Command+1 or Control+1--and
| | 00:55 | let's zoom in a couple of times so
that we can really see the waveform well.
| | 00:59 | We don't want to clip the beginning of
the waveform off when we do this, especially
| | 01:02 | with a transient like a beat in music.
| | 01:05 | Now that we've got this visible, we can
either revert to Slip mode by pressing
| | 01:09 | F2 or we can stay in Grid mode and
Command+Click or Start+Click right at the
| | 01:14 | beginning of that transient.
| | 01:16 | Then to add a sync point we press
the key command Command+Comma or
| | 01:21 | Control+Comma, and you'll see a small
green triangle added to the left and the
| | 01:26 | right region of this audio region.
| | 01:28 | That indicates that you have a
sync point now added to that region.
| | 01:31 | So let's zoom back out to the whole
session--Option+A or Alt+A--and we can still
| | 01:35 | see that there is a sync point at that point.
| | 01:37 | So if we want to move the sync point to
a different location, all you have to do
| | 01:41 | is find the location and use the same
key command to essentially add a sync
| | 01:46 | point, and I will remove it from the
first location and move it to the second
| | 01:49 | location, because you can only have
one sync point in any given audio file.
| | 01:54 | If you have multiple regions of the
same audio file, you still can only have
| | 01:58 | one sync point in any one of those regions,
because they all refer to the same audio file.
| | 02:04 | So using the navigation commands that
we have learned in the previous video,
| | 02:08 | let's see what happens now
that we have a sync point.
| | 02:10 | If I tab to the end, it still tabs to
the end; if I Option+Tab or press the L
| | 02:15 | key to move earlier, this time it stops
on the sync point instead of going all
| | 02:20 | the way back to the beginning.
| | 02:22 | So essentially a sync point acts with
navigation the same way the beginning
| | 02:27 | and end of a region do.
| | 02:28 | So you can quickly navigate to that
point in the region or audio file.
| | 02:33 | So just like we can spot to the
beginning or end of an audio file, we can also
| | 02:37 | spot to a sync point.
| | 02:39 | So we go to Spot mode, which is F3, and
we click with the Hand Grabber tool in
| | 02:43 | the bottom of the region,
| | 02:45 | we can now enter Time Code or Bar/Beat
or whatever type of grid we want to use
| | 02:51 | in this Sync Point field and it will
move that audio file so that the sync point
| | 02:55 | is at that location, which is a very
handy and quick way to snap audio files to
| | 03:00 | a specific location rather than
moving until you get it right.
| | 03:04 | So we are not going to do that for now,
| | 03:05 | so let's exit that and go back to Grid mode
and exit zoom toggle and save our session.
| | 03:11 | So you can see how sync points are a
very useful tool in aligning your sound
| | 03:15 | or music to a specific point in the
timeline, which can save you a lot of time
| | 03:19 | and guesswork.
| | Collapse this transcript |
| Using the snap editing commands| 00:00 | So we've seen how to use sync points
and navigation commands to quickly move
| | 00:04 | regions, and we've seen copying and
pasting and spotting to move regions, but
| | 00:08 | let's look at some of the snapping
features that are built into Pro Tools.
| | 00:12 | There are some very functional and very
handy features that allow us to quickly
| | 00:16 | move a region to a very
specific location in our timeline.
| | 00:20 | So first, let's place our cursor before
the first region on the Edit 1 track.
| | 00:25 | If you press and hold the Ctrl key
while clicking with the Grabber tool on the
| | 00:29 | region, the beginning of the region
will snap to the cursor's location.
| | 00:34 | The same thing will
happen if you have a selection.
| | 00:37 | So let's make a selection before
the first region, hold the Ctrl key, and
| | 00:42 | click the region with the Grabber
tool, and the region will snap to the
| | 00:45 | beginning of our selection.
| | 00:47 | You can also snap a region to its
sync point or end in the same way.
| | 00:52 | In order to snap to a sync point,
you'll need to use a key command Shift+Ctrl.
| | 00:57 | So let's place our cursor
somewhere in the middle of this region--
| | 01:00 | it doesn't have to be on
the same track; it could be--
| | 01:02 | hold Shift+Ctrl and snap
the region to the sync point.
| | 01:06 | Now the region is still
selected, because we just moved it.
| | 01:09 | So if you wanted to move this sync
point to where the beginning of this region
| | 01:12 | currently lives, you could use
that same technique to snap it there.
| | 01:16 | So Shift+Ctrl, click it with a Grabber
tool, and the sync point will move to
| | 01:20 | where the start used to be.
| | 01:21 | Now to the move the end is very similar;
| | 01:23 | it's just a slightly different key command.
| | 01:25 | So let's zoom out once, place the
cursor after the end of the region, and press
| | 01:30 | and hold Command+Ctrl or Start+Ctrl, and
click the region with the Grabber tool.
| | 01:35 | The end of the region now snaps to
the location where our cursor just was.
| | 01:40 | Using the Command Focus keys, there is
one other quick way to paste and move a
| | 01:45 | region that will allow you to make a quick edit.
| | 01:48 | So first let me walk you through
it, and then I'll show it to you.
| | 01:50 | This is something that I use
many, many times in the day,
| | 01:53 | so hopefully you'll find it helpful.
| | 01:54 | It saves a lot of time.
| | 01:56 | So first let's make a selection here.
| | 01:58 | I am going to zoom in first using the
Zoom toggle so I can see the region better
| | 02:03 | and then zoom in again using the Zoom tool.
| | 02:05 | I am going to click my region before the
sync point and tab to it, so I start my
| | 02:10 | playback right from that beat, and I
am going to press the spacebar to play.
| | 02:14 | (clip playing)
| | 02:16 | I want to solo this track
so I can just hear the music.
| | 02:19 | (clip playing)
Okay.
| | 02:22 | So I found the next downbeat, which
is where I want my selection to end.
| | 02:26 | So I am going to zoom in to that again,
play it one more time, and we're going
| | 02:29 | to find the downbeat of the next
bar: one, two, three, four downbeat.
| | 02:35 | So that's our downbeat.
| | 02:36 | We can see in the waveform. Let's zoom
into it a couple of times to get really
| | 02:40 | close and make sure that
we've got an accurate selection.
| | 02:42 | So using our Command+Click or Start+
Click to click off the grid right on
| | 02:47 | the beginning of the transient, we've
selected the downbeat where we want
| | 02:50 | our selection to end.
| | 02:51 | So let's zoom back out so
we can see where we're at.
| | 02:53 | I am going to use this zoom
level 3 by pressing 3 and then using
| | 02:57 | Shift+Option+Tab, I am going to select
back to my sync point. And then I am got
| | 03:02 | a copy with Command+C or Ctrl+C or just plain C.
The reason that this is handy is because it
| | 03:07 | allows us to really quickly place at
the end of this selection at whatever
| | 03:12 | location we want to move it to.
| | 03:13 | So say I wanted to build this one bar
into a bigger section of the music. I can
| | 03:18 | quickly place at there.
| | 03:20 | Let's go to a later selection in
the music where we want to move it.
| | 03:22 | I am going to zoom in here and find a
selection of this downbeat using the same
| | 03:29 | technique as before, and using the semicolon
key we're going to drop to the track below.
| | 03:34 | We're going to paste using V or
Command+V or Ctrl+V and using the K key on the
| | 03:39 | keyboard, we can snap the end of
this region that's selected to where the
| | 03:43 | beginning currently lives.
| | 03:44 | What this allows us to do is to paste
and move quickly the end of our region
| | 03:49 | to our cursor's location.
| | 03:50 | It would be very useful to have a key
command that we would do this all in one
| | 03:54 | step, but it's pretty simple to do this
with these two key commands. And then the
| | 03:57 | next thing we do is move this region
up onto the track with the rest of the
| | 04:01 | music and finish the edit.
| | 04:02 | So let's zoom out a couple of times so
we can see this better, or you can use
| | 04:06 | one of the zoom levels. And here's
another really useful technique for moving a
| | 04:11 | region between tracks but
keeping the sync perfectly intact.
| | 04:15 | Now if you click and drag a region,
it's going to drift left and right.
| | 04:19 | So let's undo that, because
we didn't want to do that.
| | 04:21 | If you want to move this region to the
track above without it drifting left or
| | 04:25 | right, hold the Ctrl key,
click the region, and drag it up.
| | 04:28 | Even if you move the Hand Grabber
tool left or right, it's not going to
| | 04:32 | slip left or right.
| | 04:33 | So you're keeping it perfectly in sync.
| | 04:35 | So once you've see that it's in the
right place, you can let go and the region
| | 04:39 | has now moved to where you want it to be.
| | 04:41 | By using Option+Tab, I can now snap my
location back to the beginning of that
| | 04:46 | region and I can listen to what I have done.
| | 04:47 | (clip playing)
Cool!
| | 04:51 | So it's right where we want it.
| | 04:53 | In the next chapter, we'll get into
this technique a little bit more, and we'll
| | 04:56 | also go into using crossfades to clean
up the edit between the two regions, but
| | 05:01 | for now I just wanted to show
you why this is a useful technique.
| | 05:04 | By combining these snap techniques with
the spot and navigation techniques, we can
| | 05:08 | very quickly maneuver within our
session and precisely align a region with the
| | 05:13 | timeline in the process of
editing this music to our picture.
| | Collapse this transcript |
| Using memory locations| 00:00 | Memory locations are a very,
very useful part of Pro Tools.
| | 00:04 | They can help us store
specific locations in our session.
| | 00:07 | They can help us store specific
selections within our session, show and hide
| | 00:11 | specific tracks, and even
zoom settings, and more.
| | 00:14 | One very useful way to use
markers is to help them with our edits.
| | 00:18 | So in order to do that,
let's create a new marker.
| | 00:21 | First, let's open the Marker window.
| | 00:22 | You can open it from the Window menu or by
pressing Command+5 or Ctrl+5 on the numeric keypad.
| | 00:28 | You can see that we don't have any new markers,
so let's find a good place to create one.
| | 00:32 | So first let's zoom in and let's find
a spot near the beginning of the audio
| | 00:36 | from our example movie,
and let's just look at this.
| | 00:39 | I am going to mute the music so that
doesn't play on top of what we're hearing.
| | 00:42 | (Male speaker: Man down, seventh floor.
Subject is now armed!)
| | 00:49 | So let's make a marker on the cut to
the door just before the main character
| | 00:54 | bursts through the door.
| | 00:56 | We can click and scrub along the Pro
Tools timeline until we get close, and we
| | 01:00 | can zoom in any of our techniques.
And using the plus and minus keys, we can nudge
| | 01:06 | back and forth by whatever our nudge
value is set to, which in this case is one
| | 01:09 | frame, until we find that first frame.
| | 01:12 | So here we're one frame
before it and there we're on it.
| | 01:15 | So let's make a new marker.
| | 01:16 | The way to do this is by
pressing Enter, not Return.
| | 01:19 | If you press Return, you're going to be
returned to the beginning of your Pro
| | 01:23 | Tools session, and you will lose the
current cursor selection that you have just made.
| | 01:27 | So make sure you press Enter.
| | 01:28 | It's on the bottom right-hand corner of
most keyboards, but on some laptops you
| | 01:31 | may not have an Enter key, and you may need to
use Function and Return to get the same result.
| | 01:37 | So let's press Enter, create a new location.
| | 01:39 | So let's make this a marker which
will reference an exact location in the
| | 01:43 | Pro Tools timeline.
| | 01:45 | We'll leave our Reference to
Absolute and the leave all of the General
| | 01:48 | Properties unchecked.
| | 01:50 | You can now see that a new memory
location has been added to the Memory Location
| | 01:53 | list, and you can also see it on
the marker location in the timeline.
| | 01:58 | Also, you can see that the grid line
has turned yellow where our marker is.
| | 02:02 | One point to make here is that if you
make a marker in between gridlines, you'll
| | 02:06 | have a yellow line where that marker
lives, even if it's not on the grid.
| | 02:10 | Now let's say we want to name this marker.
| | 02:12 | There are several ways to do that.
| | 02:13 | First, you can Ctrl+Click right on
the marker in the Marker timeline, and
| | 02:18 | you'll see a little handful with the finger pop
up and that will bring you in here to rename it.
| | 02:23 | So let's call this Door Open and click OK,
and we've now got a marker called Door Open.
| | 02:29 | The second way to edit the name or
edit the marker is to hold Ctrl again and
| | 02:34 | move your mouse until your mouse icon
turns into a pencil and then when you
| | 02:39 | Ctrl+Click, it'll bring up the
same Edit Memory Location window.
| | 02:43 | So now we've made a memory
location, let's see how we can use it.
| | 02:46 | First, let's zoom out and view the
whole session using Option+A or Alt+A, and
| | 02:50 | let's click somewhere else in our timeline.
| | 02:53 | Now in order to recall this memory
location, there is a few ways that we can do it.
| | 02:56 | One, we can simply click on the memory location;
| | 02:59 | two, we can click on the
memory location in our list;
| | 03:04 | and three, we can invoke it with a key command.
| | 03:07 | To open this with a key command,
you're going to press the period key on the
| | 03:10 | numeric keypad; the number, which is
just to the left of the name of the memory
| | 03:15 | location; and then period again.
| | 03:16 | So using the numeric keypad, let's press .1.
| | 03:20 | and we can see that our timeline has
jumped back to the location of that marker.
| | 03:24 | Now that we have made a marker, I can
show you how we can use this to make
| | 03:27 | editing move more quickly.
| | 03:29 | So let's say we want to move the sync
point on this song so that it lines up
| | 03:33 | with the marker that we've
just created for Door Open.
| | 03:36 | The first thing we need to do, if
you're not already there, is return to that
| | 03:39 | marker location. Once your cursor
is at that location, we'll use the key
| | 03:43 | command we learned earlier to
snap the sync point to a location.
| | 03:47 | Shift+Ctrl and click the region and
it will snap that sync point directly
| | 03:52 | into that location.
| | 03:53 | That's a very useful technique to
align a specific piece of music with a
| | 03:57 | specific point in your Pro Tools
timeline or in the picture which is synced up
| | 04:02 | with your Pro Tools timeline.
| | 04:04 | Another use for markers is for storing selections.
| | 04:06 | So if you don't already have
a selection, let's make one.
| | 04:09 | For now let's select the entire
audio region on the ELI clip 1.1 track.
| | 04:15 | Now let's zoom that selection is
the full width of the screen with the
| | 04:18 | Option+F or Alt+F key command, and
let's make a new marker by pressing Enter.
| | 04:23 | Here, let's call this ELI Clip.
| | 04:28 | You can make a selection marker by
choosing Selection under the Time Properties,
| | 04:32 | and again we'll leave all the other
settings just as they were. And we now have a
| | 04:37 | new marker that's called ELI Clip.
| | 04:39 | So now anytime we invoke this
marker, we'll return to that selection.
| | 04:43 | So let's make another selection
somewhere else in the timeline, and now let's
| | 04:47 | recall the marker that we just created.
And you can see that that selection is
| | 04:52 | now brought up when we invoke that
key command, .2., or when we
| | 04:56 | select the marker through one
of the other available options.
| | 04:59 | Another great use for memory locations
is the Zoom and Track Show/Hide settings.
| | 05:05 | So let's edit our ELI Clip marker again
by Ctrl+Clicking the name in the Memory
| | 05:10 | Locations list, and let's add a zoom setting.
| | 05:13 | You can do this by simply clicking the
Zoom Settings check box under General
| | 05:17 | Properties and click OK to save the marker.
| | 05:19 | Now no matter where we zoom in or out
in the session, when we recall that marker,
| | 05:24 | it's going to return to the zoom
setting that was saved with that marker.
| | 05:29 | So perhaps we want to save the zoom
setting so that the entire clip is centered
| | 05:33 | in our timeline and takes up the
entire width of our Edit window.
| | 05:37 | So let's re-center with the Option+F
or Alt+F key command, and let's edit our
| | 05:41 | marker by Ctrl+Clicking and simply
save it to save the new zoom settings.
| | 05:46 | Now if we zoom out and recall that marker,
it's going to return to whatever zoom
| | 05:51 | setting we saved with it.
| | 05:53 | Let's make one new memory location, and
we'll also add the use of showing and
| | 05:58 | hiding tracks, as well as a few other things.
| | 06:01 | So for this one let's locate to the
very first frame of picture. We can either
| | 06:05 | scroll there the same way we found the door
open, or we can simply type in the timecode.
| | 06:10 | Typically, a picture file is going to start
with the first frame of picture at one hour even.
| | 06:14 | So we can type this in by pressing
the equals key on the numeric keypad and
| | 06:19 | typing in 01000000. And just like it
does in the Spot window, you can see that
| | 06:26 | the numbers cycle from right to left.
| | 06:28 | Now press Enter and the cursor will
snap to that first frame. And you can
| | 06:31 | double-check that you're in the right
place by nudging forward or backwards, and
| | 06:36 | you can see that there, right at one
hour, is the first frame of our picture.
| | 06:39 | So let's make a new marker here
and let's call this Picture Start.
| | 06:43 | Let's make this a marker.
| | 06:46 | Let's keep our Zoom Settings, and let's keep
our Track Show/Hide settings, and let's save it.
| | 06:51 | So now the Picture Start marker
shows up above the other markers we made,
| | 06:55 | because right now the list is
set to sort the markers in order.
| | 06:59 | And you can change that order, too, by
number or any number of other sorting
| | 07:03 | methods, but we're going to keep it in
order from the beginning to the end of
| | 07:06 | our session, which is the default behavior.
| | 07:09 | So now to see what we've done with
the Show/Hide marker, let's hide a track.
| | 07:13 | Perhaps we want to hide our Edit 1
track, and perhaps we change our Zoom
| | 07:16 | Settings--we've been working on
something else--but we want to go back to that
| | 07:20 | Picture Start marker that we made and we want
to see everything that we had set in that marker.
| | 07:25 | So let's recall the marker by pressing .3.
| | 07:28 | on the numeric keypad, and you can see
that the hidden track returns to view and
| | 07:31 | the Zoom Settings have returned to
where they were when you saved the session.
| | 07:35 | If we want to edit this and perhaps
zoom in so that next time we recall this
| | 07:40 | marker it's zoomed into this level, we can
edit the marker and simply click Return
| | 07:45 | to save the setting.
| | 07:46 | Now when we recall the marker, we're
brought back to the exact same level of zoom.
| | 07:52 | Now if we look one more time in the
Edit Memory Location options, you can see
| | 07:55 | that there are several other general
properties: Pre/Post Roll Times, Track
| | 07:59 | Heights, Group Enables, Window Configuration.
| | 08:01 | We're not going to go into detail on
these options in this course, but feel free
| | 08:06 | to play around with them and if you'd
like more information, check out Pro Tools
| | 08:10 | 9 Essential Training.
| | Collapse this transcript |
| Customizing crossfades| 00:00 | Crossfades are a very important part of
any editing, and we're going to be using
| | 00:03 | them fairly in depth in this course.
| | 00:05 | Let's look at some of the preferences and
options that we have with our crossfades.
| | 00:09 | Let's look under the Setup menu >
Preferences and under the Editing tab, we can
| | 00:13 | find our Default Fade Settings.
| | 00:15 | For the fade-in, I generally leave the default.
| | 00:18 | If you want to change it,
| | 00:19 | you can do so by toggling the check
box or by using the left and right arrow.
| | 00:24 | Let's click OK to leave this dialog.
| | 00:26 | So now let's look at our Crossfade preferences.
| | 00:29 | This is an equal gain crossfade,
which is actually quite useful for most
| | 00:33 | scenarios, but we may want to change that.
| | 00:35 | One way that I like to work is to change
this to a customizable crossfade, which
| | 00:39 | is already set for easy editing.
| | 00:41 | So using the up or down arrows, we can
change the link type to Equal Power or None.
| | 00:46 | We can also edit the incoming and
outgoing fades. Using Ctrl+Left and Ctrl+Right,
| | 00:51 | we can change the outgoing fade type,
and using Option or Alt, left or right,
| | 00:57 | we can change the incoming fade type.
| | 00:58 | I like to set my preference like this,
because it allows me to quickly and
| | 01:01 | easily edit the crossfade while I'm working.
| | 01:04 | So if you want to leave it
this way, feel free to do so;
| | 01:07 | if not, set it how you
like it and let's move on.
| | 01:09 | And the fade-out, this is also very
practical, but using the left arrow, I often
| | 01:13 | change it to this type of fade-out, because
its sound more musical for long fade-outs.
| | 01:18 | The other type of fade-out, the default,
is quite useful as well, but for now I
| | 01:22 | am going to set it here.
| | 01:23 | So now we can close our Preferences,
and let's look at a couple of other ways
| | 01:26 | that we can customize our crossfades.
| | 01:28 | So first, let's make a little cut in
the audio file that's on our Edit 1 track.
| | 01:33 | You do this with the Command+E or
Ctrl+E key command or just the B key, if
| | 01:38 | Command Focus is enabled.
| | 01:40 | And then we're going to make a
selection around our edit and invoke the
| | 01:43 | Crossfade command with Command+F or Ctrl+F.
A pop-up window opens up with a default fade.
| | 01:50 | Now if you want to change the Link type,
you can do so by clicking the options,
| | 01:54 | or you can also do so using
the up and down arrow keys.
| | 01:57 | If you want to change the outgoing and
incoming fade types, you can do so using
| | 02:02 | Ctrl, left and right arrows, or
Option or Alt, left and right arrows.
| | 02:06 | I am going to except this much like we
did in the Preferences, to no Link type.
| | 02:10 | I am going to leave my incoming fade
as it is now, and I am going to change
| | 02:13 | my outgoing fade so that it looks
just like this. And when I hit OK, we're
| | 02:18 | going to have a crossfade that looks just
like what we specified, created across the edit.
| | 02:23 | Now let's make another small cut
somewhere later in the region and make another
| | 02:27 | selection around it, and let's try
a different way of making a fade.
| | 02:31 | This time, instead of using Command+F
or Ctrl+F, just press F. This is going to
| | 02:36 | enter a crossfade based on your default
preferences, which we set earlier in the
| | 02:40 | Pro Tools Preferences.
| | 02:41 | Now if we want to try a third type of
customization, let's make a third cut and
| | 02:46 | another selection, and again, let's use
Command+F or Ctrl+F to open the dialog,
| | 02:51 | and now we can further edit our type of fade.
| | 02:53 | And the reason why I like to leave this
as my default fade type is because I can
| | 02:58 | now click and drag the beginnings or
ends of any one of these fades to really
| | 03:04 | fine-tune them and get a very custom fade.
| | 03:07 | So perhaps I want the starts and ends
of the fade-ins and fade-outs to be a
| | 03:10 | little bit different than normal, and maybe
I want a slightly different outgoing fade.
| | 03:16 | I can just use those key commands to
toggle it, get it exactly where I want it,
| | 03:20 | and when I am ready, I press OK, and now
I have a customized fade on that edit.
| | 03:24 | Another nice feature about crossfades
in Pro Tools is that whenever you use
| | 03:28 | Command+F or Ctrl+F to create a crossfade,
| | 03:31 | if you use the same key command again, it
will repeat the last crossfade that you made.
| | 03:35 | So let's do one more example.
| | 03:37 | We'll make one more cut, one more
selection. Command+F or Ctrl+F will pop up and
| | 03:42 | execute the same crossfade we just did.
| | 03:44 | If you undo that and just press F
instead, it's again going to enter just the
| | 03:49 | crossfade that we've
specified in our preferences.
| | 03:52 | Let's undo these, since we don't need
these in our session, zoom all the way
| | 03:56 | back out with Option+A or Alt+A, and we'll
look at one more unique feature in Pro Tools.
| | 04:01 | Let's say, for example, that we had
several edits throughout the course of a
| | 04:04 | track--and again, these are just quick
rough, for example, we're not actually
| | 04:07 | making a real edit here; we're
just cutting and then reading.
| | 04:10 | But lets make a couple of cuts in this
track, and then let's select the entire
| | 04:14 | thing which you can do by placing your
cursor anywhere on the track, and using
| | 04:18 | the key command Command+A or
Ctrl+A to select everything on the track.
| | 04:22 | If you press the F key like we did
before to create a fade, it's going to fade
| | 04:26 | in, fade out, and apply a crossfade to
every single point in that selection.
| | 04:31 | So now we've just pressed the F key,
and let's zoom in so we can take a look.
| | 04:35 | So I am going to navigate with tabbing
like we've done before, zoom in using
| | 04:38 | the 4 key, and you can see the first
fade-in and tab to the next sync point,
| | 04:43 | tab to our first crossfade, tab to our
second crossfade, third crossfade and our fade-out.
| | 04:49 | And you can see that the fade-out
is used from our preferences and the
| | 04:52 | crossfades are used from the last
crossfade we applied using Command+F or
| | 04:56 | Ctrl+F. Now that we've seen that,
let's undo, until those are all gone, since
| | 05:02 | again, we don't need to
keep those to move forward.
| | 05:04 | Now I am going to show you one last
way to very quickly make a crossfade
| | 05:07 | using the Smart tool.
| | 05:08 | So let's zoom in, make a selection
first, zoom in using the 4 key, and make a
| | 05:13 | cut. And then if you place the Smart
tool near the bottom right-hand corner of
| | 05:18 | the outgoing region or the bottom left-
hand corner of the incoming region, the
| | 05:22 | cursor turns into a little Crossfade tool.
| | 05:25 | You can see this box with what
looks like a pyramid from the top.
| | 05:29 | Using that tool, you can click and
drag to stretch a fade. And if you want to
| | 05:34 | work on fades that are outside the grid,
at anytime just use the Command or
| | 05:37 | Ctrl modifiers and release, and
you've now created a crossfade.
| | 05:42 | So again, we don't need to keep these,
so let's undo that and let's use Option+A
| | 05:47 | or Alt+A to zoom all the way out.
| | 05:48 | Now that we've gone through and learned
most of our and maneuvering tools that
| | 05:51 | we're going to need to use for the
rest of this course, let's move on to the
| | 05:54 | next chapter and start
actually cutting some music.
| | Collapse this transcript |
|
|
3. Editing Music to PictureAuditioning music to picture| 00:00 | Now that we're getting ready to edit,
the first thing we want to do is get
| | 00:03 | familiar with the piece of music
that we're going to be cutting.
| | 00:05 | So we're going to start with this
song Leebock 2 by Simon Hunter, and it's
| | 00:09 | selected on our Edit 1 track.
| | 00:11 | So I'm going to zoom-toggle in, make
the bigger, so I can see the whole thing.
| | 00:15 | If you have the exercise files, you may
want to pause this video and just have a
| | 00:19 | listen to the track to familiarize
yourself with the musical material.
| | 00:22 | So let's zoom in, and we're going to
just spot-check a couple of things.
| | 00:25 | So, let's listen to the beginning of the song.
| | 00:27 | (music playing)
(Male speaker: Man down.)
| | 00:36 | Okay, I'm going to solo this so we
can just listen to the music right now.
| | 00:39 | It's kind of a cool start. And here,
you can see where the beat picks up.
| | 00:43 | We've already made our sync point marker there;
let's listen to that.
| | 00:45 | (music playing)
| | 00:52 | It sounds like that loops a couple times,
so that may be a really great intro to our edit.
| | 00:57 | Let's listen here right before the
bigger part that the beat comes in.
| | 01:00 | (music playing)
| | 01:08 | Cool! So, part of what we're going to do now
is just get familiar with these clips
| | 01:13 | and kind of decide where against the
picture we might want to use each section.
| | 01:17 | So, first thing that we might want
to do is choose the first spot that
| | 01:20 | we're going to look at.
| | 01:21 | So, I think a good spot start is to use
our Door Open marker, which you will recall with .1.
| | 01:26 | on the numeric keypad. And let's
find a piece of music to align there.
| | 01:29 | (music playing)
| | 01:32 | This is probably not quite energetic
enough for that moment, so let's look at
| | 01:36 | the first big downbeat here--
| | 01:37 | it's a little bit later in the music--
and see about lining made up on that cut.
| | 01:41 | So there are of ways we could this.
| | 01:44 | One would be to zoom in, find very
beginning of that transient, and put a new
| | 01:48 | sync point there, Command+Comma or Ctrl+Comma.
| | 01:51 | The other way to do it would be to cut
the region using the Command+E or Ctrl+E
| | 01:55 | key command or just the B key with
Command Focus enabled, and then you could
| | 01:59 | snap the beginning of the region or the
sync point, whichever you chose to do, to
| | 02:03 | the Door Open point.
| | 02:04 | So for now, let's undo that.
| | 02:06 | We use the sync point, relocate to the
Door Open, and Shift+Ctrl+Click the audio
| | 02:11 | file to snap the sync point to our Door
Open marker. And now, let's just watch
| | 02:16 | right before that to see what this looks like.
| | 02:18 | (music playing)
| | 02:28 | Cool! So that's a little more like the
right energy for that part of the edit.
| | 02:32 | So, let's watch a little further in this video.
| | 02:34 | This time I'm going to mute the
music and just listen to the sound, and
| | 02:38 | we're going to determine another place
where we might want another change in the music.
| | 02:42 | So we've already kind of
seen the run down the stairwell.
| | 02:44 | Let's pick it up from there.
| | 02:47 | (video playing)
(Male Speaker: Look out!)
| | 02:57 | So we may want to make some change in
the music happen when the main character
| | 03:00 | breaks through that door at
the bottom of the stairwell.
| | 03:02 | So, perhaps this section here
might work. Let's audition it.
| | 03:06 | I'm going to unmute it and solo it again.
| | 03:08 | By the way, a nice quick key command for
doing this in Pro Tools 9 is Shift+M to
| | 03:12 | mute or unmute and Shift+S to solo or unsolo.
| | 03:17 | So that's one of the quick keys that
I'm going to be using as we move forward.
| | 03:20 | (music playing)
| | 03:26 | So that break might be perfect to
place on the cut to the main character
| | 03:29 | coming through the door
at the bottom of stairwell.
| | 03:31 | So now, let's put a sync point on this
change and see what it looks like when we
| | 03:34 | align the music to that next cut.
So let's find that downbeat.
| | 03:37 | (music playing)
| | 03:39 | We can see it's right here.
| | 03:41 | You can scrub, which is a really handy tool.
| | 03:45 | There is actually a Scrub tool you can
access using the F9 key, or you can also
| | 03:50 | Ctrl+Click with the Smart
tool and move the mouse.
| | 03:55 | So we can listen to find the
beginning of a region that way.
| | 03:59 | So here, we can see it as
well; the waveform make it clear.
| | 04:02 | We'll find a zero crossing, which is
where the waveform crosses the zero point--
| | 04:06 | the most natural place to make and edit.
| | 04:08 | So whenever possible, that's what
we'll try and to do. And we'll make a sync
| | 04:11 | point--again Command+Comma or Ctrl+Comma, and
we'll zoom back out. And the next thing
| | 04:16 | we'll do is we'll marker
on the cut to that door.
| | 04:19 | So let's find it, and we'll nudge one
frame at a time until we get right on the
| | 04:25 | cut, create a new marker with Enter, and
we'll call this Floor 3 Door Open. And
| | 04:32 | it's just a marker. We can uncheck Zoom
and Track Show/Hide because we just want
| | 04:36 | the location for now.
| | 04:37 | So now, let's sync this using our
Shift+Ctrl key command and clicking the
| | 04:41 | audio file so that the sync point snaps
to that marker, and let's watch and see
| | 04:46 | what that looks like.
| | 04:47 | (music playing)
| | 04:57 | Let's hear it once with the production
audio in there as well, so we can here
| | 04:59 | how they sound together.
| | 05:01 | (music playing)
| | 05:10 | Cool! This is going to work.
| | 05:12 | Let's look at one more sync point,
and then we can move on and start
| | 05:15 | editing these together.
| | 05:17 | So let's watch the video a little
further and see where the next point we might
| | 05:20 | want to hit musically might be.
| | 05:22 | So again, I'm going to mute the music track.
| | 05:25 | (video playing)
(Male speaker: There he is!)
| | 05:43 | Cool! So there is any number of points in
there that we could choose to sync our music
| | 05:46 | with, and it oftentimes just depends
on which piece of music may play best for
| | 05:51 | a given song, because one
song may play very well--
| | 05:53 | they hit a certain cut--and another song may not--
| | 05:55 | they may play better to hit
the next cut or the cut before.
| | 05:58 | So for now let's pick one and just see
what it looks like, with the theory that
| | 06:01 | we may move forward
incorporating that into our edit.
| | 06:04 | Let's look at the scene where Eli tries
to enter a room but finds the door locked.
| | 06:07 | (video playing)
| | 06:11 | So let's find the section of this
song that might work well for that.
| | 06:14 | So I'm going to unmute and solo this
again, and let's listen a little later and
| | 06:18 | see what else we have.
| | 06:19 | (music playing)
| | 06:30 | That's kind of like the break we used
earlier, so maybe we'll look for something
| | 06:33 | different than that.
| | 06:34 | (music playing)
| | 06:39 | But I do like the change in this
section of the music, so what we will probably
| | 06:42 | do is use that later on by pulling that
up earlier in the edit so that the song
| | 06:47 | develops in a shorter period of time.
| | 06:50 | Let's look at this next
break and see what this does.
| | 06:51 | (music playing)
| | 07:00 | That's good. Again, let's look at the end here.
| | 07:02 | (music playing)
Okay.
| | 07:08 | So this may not be the right spot to
go on the door, but this does give me
| | 07:11 | another idea, so let's go with that.
| | 07:12 | We're going to take the end here, find
the downbeat in the start of this section,
| | 07:19 | which is somewhere in here.
| | 07:20 | We can scrub it if we want
using Ctrl and moving the mouse.
| | 07:26 | So we know right here is the beginning
of that section. And we'll find the zero
| | 07:31 | crossing by zooming in, placing the
cursor off the grid by Command+Clicking or Start+
| | 07:36 | Clicking, place our cursor, and add a sync point.
| | 07:39 | Let's zoom out, and where I'm thinking
this might be a good fit is near the end
| | 07:43 | of this scene where Eli is in the room
and closes with the door behind him.
| | 07:48 | So let's take a look at that and see
where this might go well. Here we go.
| | 07:54 | So he is going into the
room here. Mute the music.
| | 07:57 | (video playing)
| | 08:04 | So perhaps we want to put
this on the door-close.
| | 08:06 | Let's see what that looks like.
| | 08:09 | So let's find the door-close.
| | 08:10 | So in there, you can see the
audio from the production track.
| | 08:15 | This must be the sound from that door closing.
| | 08:18 | Let's zoom out, and we can make a
marker if we want, or we don't have to.
| | 08:22 | In this case, we can case, now that our
cursor is there, simply snap our audio
| | 08:26 | so that the sync point moves to that location.
| | 08:28 | I am going to zoom out again, just to
make sure I have enough space before this
| | 08:31 | file to do that, and I actually don't.
| | 08:34 | So if I wanted to do this preview, and
I try to do what we were about to do,
| | 08:38 | it wouldn't be able to move far enough to the
left before it hit the beginning of the session.
| | 08:42 | So in order to preview this, I'm going to cut
the beginning of this audio file off for now.
| | 08:46 | We can always get it back later.
| | 08:47 | And a handy key command in Pro Tools
for cutting the beginning of the file is
| | 08:51 | just pressing the A key.
| | 08:53 | As long as you're in Command Focus mode,
pressing the A key is going to remove
| | 08:55 | anything to the left of your cursor.
| | 08:58 | So let's do that: leave our cursor
where it is, and Shift+Ctrl+Click the audio
| | 09:02 | file to snap it into place. And I will zoom
in and just take a little preview of this.
| | 09:08 | (video playing)
(Male speaker: There he is!)
| | 09:15 | Cool! So that could work, and another place
that might work is on this spot where the
| | 09:20 | broom gets put through the door.
| | 09:23 | So let's find a good spot here--probably
right at the end when the broom stops moving.
| | 09:27 | We can kind of scrub with the mouse
to see the picture and find a good spot
| | 09:31 | that looks natural to stop.
| | 09:33 | When you find the place you're happy
with, again Shift+Ctrl+Click our region to
| | 09:36 | snap our sync point into place,
and let's take a look at that.
| | 09:39 | (video playing)
| | 09:46 | Cool! I think my spot was a little late,
so let's look at that one more time.
| | 09:49 | I am going to try and put it right
where he stops moving the broom, so right
| | 09:55 | there. We'll do that one more
time and take another look.
| | 09:59 | (video playing)
| | 10:04 | Cool! So either of those could be good placements.
| | 10:06 | So essentially, what we've been doing
now is previewing, or auditioning, different
| | 10:10 | sections of the music with different
parts of the picture and deciding what
| | 10:14 | might work well in different places,
and that's really the first step we're
| | 10:17 | going to take in any edit.
| | 10:19 | The next step will be to tie them all together.
| | Collapse this transcript |
| Editing to acquire multiple sync points within the same "cue" | 00:00 | So now that we're somewhat familiar with
the musical material and the scene that
| | 00:03 | we're going to be cutting our
music to, let's begin to build the cue.
| | 00:07 | But first, let's define
what a scene and what a cue is.
| | 00:10 | The scene is essentially this entire sequence
of events that we're watching in the picture.
| | 00:15 | It's a part of the movie that
tells a specific part of the story.
| | 00:19 | In this case, the scene begins when
the security guards begin chasing our
| | 00:23 | main character Eli, and it ends when he
safely gets inside the room and bars himself in.
| | 00:28 | The cue is our music that's
going to accompany this scene.
| | 00:32 | It has a specific start and end point,
and it has a specific arc that should
| | 00:36 | score the emotion and the
action within the scene.
| | 00:39 | So a musical cue is really kind of
like a miniature song or a miniature
| | 00:43 | performance that accompanies
what we see in the picture.
| | 00:46 | So now that we know what a scene and a
cue are, let's go ahead and build our
| | 00:49 | cue along to the scene.
| | 00:51 | So now let's zoom out to get a clear
picture of what we're looking at, and let's
| | 00:54 | move our audio so that we have the beginning
of the file, since we chopped it off earlier.
| | 00:57 | So the first couple of sync points we
looked at earlier involved the piece of
| | 01:01 | music that we wanted to play where the
first door open when Eli comes running
| | 01:04 | through the stairwell.
| | 01:05 | So let's go back and look at that again.
| | 01:08 | Near the beginning of this cue, you can
see here where the first build is, and I
| | 01:10 | think that's a good place,
musically, to begin on that cut.
| | 01:15 | So let's find the zero crossing right at
the beginning of that transient, and let's
| | 01:18 | make a cut, and let's cut with the X key.
| | 01:23 | Now we can locate ourselves to that door
open marker that we made earlier with .1.
| | 01:27 | on the numeric keypad, and then we can
paste what we've just cut by pressing
| | 01:31 | Command+V or Ctrl+V. And let's zoom
in and look at that really quickly.
| | 01:34 | (clip playing)
| | 01:40 | Cool so we've got that kind of where we want it.
| | 01:42 | Now let's look at how we would join
this section of the song with the next cut
| | 01:46 | that we wanted to make.
| | 01:48 | And in this case when he breaks through
the door on floor three, where we made a
| | 01:52 | marker number four, we may want to bring that
next piece of music that we looked at in here.
| | 01:58 | So now mute the music. Let's
look at the picture here again.
| | 02:04 | And let's find again that
section of music that we wanted to use.
| | 02:07 | So I'm going to solo the music.
| | 02:08 | I believe it was this first break.
| | 02:11 | So let's zoom in here and
find the downbeat again.
| | 02:13 | (clip playing)
Okay, right here we can hear the downbeat.
| | 02:17 | We can even see the zero
crossing right before it.
| | 02:20 | So let's place our cursor there and
make a cut and zoom out. And again,
| | 02:25 | we can select and cut that music and
locate to marker number four, which is the
| | 02:29 | Floor 3 Door Open, and we can paste the
music that's in our clipboard at that location.
| | 02:35 | So now that we've done that,
let's pre-roll a little bit.
| | 02:38 | I'm going to zoom in a little more as well.
| | 02:40 | And let's see if our edit is even
anywhere near musical, because it may not be.
| | 02:43 | So let's take a quick look.
| | 02:44 | (clip playing)
| | 02:49 | It's actually not too bad, but it may
not be perfectly zero crossing and phase
| | 02:53 | aligned and whatnot.
| | 02:54 | We may need to adjust the second or
the first segment in order to keep
| | 02:58 | it perfectly in time.
| | 02:59 | So let's take a look at that.
| | 03:00 | So we're going to zoom into it.
| | 03:02 | We know that this piece is right on the
beat, because we already made the cut there.
| | 03:07 | So let's remove it by cutting it and
then drag out the end using the Trim tool,
| | 03:11 | which you can get by placing the
Smart tool right at the end of a region.
| | 03:15 | And now we can see here's the beat where that
music would normally go on to the next downbeat.
| | 03:19 | I'm going to place my cursor right on
the same zero crossing that we found
| | 03:24 | before, and you can see here it's
slightly different because on the left and
| | 03:27 | right channels it happens
in slightly different places.
| | 03:30 | For now let's go with the one on the
top, and what I'm going to do is use
| | 03:32 | another key command.
| | 03:33 | I'm going to press the S key, and what
this will do is cut all of the audio in
| | 03:37 | this region to the right of the cursor.
| | 03:40 | So first, I'm going to zoom out so I can
see this better, and I'm going to press
| | 03:43 | the S key and that audio goes away.
| | 03:45 | And I still have the rest of the music
that we have pasted earlier in the clipboard.
| | 03:49 | So what I'm going to do is paste it
back at that exact location now by
| | 03:53 | pressing Command+V or Ctrl+V. We're
going to zoom in a little further, and
| | 03:57 | we'll take a look at our edit.
| | 03:58 | So you can see that the zero crossing
lines up on one side, but you can also see
| | 04:02 | a transient here, which is where
the downbeat actually happens.
| | 04:05 | So let's see how well those line up, and
we can do that by sliding with the Trim
| | 04:09 | tool left and right.
| | 04:10 | If you're in Grid mode, you're going to
need to hold down Command on a Mac or
| | 04:14 | Ctrl on a PC. And so now that
we've been able to determine where that
| | 04:18 | transient is, another quick way to
line this up properly is to zoom in and
| | 04:23 | find that transient on one end of the
edit and move it to the same transient
| | 04:28 | on the other end of the edit.
| | 04:30 | So we can now snap this using the Snap
command, Ctrl+Clicking the audio file and
| | 04:34 | bringing it into place.
| | 04:35 | So you can see that this isn't a
perfect zero crossing, but you can also see
| | 04:39 | that the transient lines up, so that's
almost more important at this point.
| | 04:43 | But in order to avoid a pop or a tick
in the audio, we are going to want to
| | 04:47 | put a crossfade on in.
| | 04:49 | So let's make a little selection.
| | 04:50 | For now let's go into Slip mode, make a
selection that's off the grid, and apply
| | 04:54 | a standard fade by pressing F.
| | 04:56 | Go back into Grid mode, zoom out, and
let's listen to what we have got. And I'm
| | 05:01 | going to un-solo so we can hear
this with the production audio.
| | 05:04 | (clip playing)
| | 05:11 | Cool! So that is a musical edit.
| | 05:13 | There is no pops or ticks. It works.
| | 05:15 | It's a little bit before the picture-cut,
but it's so close that it plays as if
| | 05:19 | it's on the picture-cut.
| | 05:20 | So now let's take a quick look at this
entire part of the cue that we have just built,
| | 05:24 | starting at the first door open and playing
through that second door open on the floor three.
| | 05:28 | (clip playing)
(Male speaker: Look out!)
| | 05:46 | So now we've assembled the
first edit in our new cue.
| | 05:48 | In the next video, we're going to
work on building the arc of the song to
| | 05:52 | maintain the same natural musical
progression that the song has over the
| | 05:56 | course of its entire length, but
squeezing it down into the much shorter
| | 05:59 | duration of our musical cue.
| | Collapse this transcript |
| Editing to maintain or change the arc/build of the cue to fit the scene | 00:00 | So let's continue assembling this cue.
| | 00:02 | We've essentially made the first edit
and made the first transition from one
| | 00:06 | part of the scene to the next,
| | 00:08 | but the next thing we may want to do
is make that section build a little bit
| | 00:11 | more than it does naturally because
we're condensing a long song into a
| | 00:15 | short amount of time.
| | 00:17 | So that brings us to the point of
maintaining the arc, or the build, of a piece of music.
| | 00:22 | Really what we're trying to do with any
edit is to contain all of the different
| | 00:25 | changes, or at least many of the
different changes, that a piece of music
| | 00:28 | naturally has and present those
throughout the course of our cue, so that the
| | 00:33 | song naturally builds and changes.
| | 00:35 | Then of course we want to sync up many
of those builds and changes to the proper
| | 00:38 | part of the scene, so that it feels
natural and scores the scene appropriately.
| | 00:43 | Continuing with this edit, the first
thing we may want to do--I'll zoom in to
| | 00:47 | see this a little better--is
break this section in half.
| | 00:50 | So let's listen to it first.
| | 00:51 | I believe there are two musical
phrases in there, but let's make sure.
| | 00:54 | (clip playing)
(Male speaker: Look out!)
| | 01:10 | So essentially, the second musical
phrase has a break in the second half of it.
| | 01:14 | One quick and easy way to do this is
to slide out the beginning of the second
| | 01:18 | region and see what it does musically,
and essentially combine the two so we get
| | 01:24 | a change in the middle.
| | 01:25 | But let's see if there's
even a change that we had.
| | 01:27 | So quickly, we're going to listen to that.
| | 01:28 | (clip playing)
| | 01:33 | You can hear that actually there
is a new element in the music here.
| | 01:36 | So let's find a downbeat that we
can edit these two parts together on.
| | 01:40 | It should be really easy to find since
we're already in time with this edit.
| | 01:43 | Let's find where that downbeat happens.
| | 01:45 | (clip playing)
(Male speaker: Look out!)
| | 01:51 | Okay. So right here is where our downbeat happens.
| | 01:54 | So what we want to do is essentially
slide this over towards that point, get it
| | 01:58 | close. And we may want to delete the crossfade,
| | 02:01 | so we're going to double-click with the
Selector tool or grab it and just press
| | 02:05 | the Delete key, zoom in again, and
just take a look to make sure that our
| | 02:09 | transients line up. And here you can
see that they're not exactly on, and that
| | 02:13 | is common, especially when you're
editing older music that may not have been
| | 02:16 | recorded to a click--it's
going to be very common.
| | 02:18 | So you really need to listen to make
sure that things are going to sync up.
| | 02:22 | So here in this case, let's find the
beginning of that transient, cut the
| | 02:25 | music off to the left using the A key
command, zoom out a little bit, grab the
| | 02:30 | remainder of that region, and cut it.
| | 02:32 | Then we'll zoom in again and find that
same transient on the end of this region.
| | 02:41 | So here you can see that we're zoomed
in at sample level, but I can't select in
| | 02:45 | between where the actual zero crossing is.
| | 02:48 | So in this case, we have to just choose
one side or the other, and one way to do
| | 02:52 | that is to paste and just look at the waveform.
| | 02:55 | Here you can tell it's going to be
better to paste it earlier than it would be
| | 02:59 | to paste it on the next sample,
because in there it looks late.
| | 03:02 | But obviously, the most important
thing is to listen and follow what sounds
| | 03:05 | right. But at such a small level, it's
really going to be almost impossible to
| | 03:09 | tell the difference.
| | 03:10 | So we'll go with this.
| | 03:11 | We'll paste it here. We'll zoom out.
| | 03:14 | Let's put a little bit of a
crossfade on here, just to smooth it over.
| | 03:18 | So when I'm making this crossfade,
I'm typically going to end the fade close
| | 03:21 | to the transient of the attack that we're
ending the fade on, but not too far over it.
| | 03:26 | Essentially, the goal is to get the
transient to play through, so that we're not
| | 03:30 | cutting it off by fading it in too much.
| | 03:32 | I'm just going to use the regular preference
default by pressing F. I'm going to zoom out again.
| | 03:38 | I'm going to listen to this transition.
| | 03:39 | The important thing is, if
it sounds good, it's good.
| | 03:42 | If you hear it clicking or popping or
phasing then the fade needs to be adjusted.
| | 03:46 | So we'll listen to it to double-check
that there isn't any of that, but because
| | 03:49 | this is such a short fade, we're
not likely to have that problem here.
| | 03:52 | So let's go back to the start of our
edit and we're going to play from here.
| | 03:55 | (clip playing)
(Male speaker: Look out!)
| | 04:11 | Cool! So the fade itself seems good, but one
thing that came up when we watch this
| | 04:15 | that I might want to improve
is the transition in the middle.
| | 04:19 | So when we have the electric sparks
flying and the security guard hits the wall,
| | 04:22 | we might want a bigger boost
in the intensity of the music.
| | 04:25 | So because this music may have a
similar change later, we may skip ahead and
| | 04:29 | find a different section to use for this edit.
| | 04:32 | So let's do a little preview
and see what we have later.
| | 04:34 | Solo the track and check a similar part
right before a similar break, basically
| | 04:38 | the next time this happens,
and see what plays there.
| | 04:40 | (clip playing)
| | 04:50 | That's cool! The difference is that it has a
bit of a melody on top of it now.
| | 04:54 | So we have to be careful if we do
introduce it, to do it in a way that doesn't
| | 04:58 | cut that melody in half or
edit it in an unnatural way.
| | 05:01 | I'm going to check this next break as well.
| | 05:03 | (clip playing)
| | 05:11 | Same thing. So let me listen one more time to this section
here and decide if we want to use that or not.
| | 05:17 | (clip playing)
| | 05:30 | I think that's got a long enough
phrase that we're going to save that for
| | 05:33 | the next section rather than try
and put it on before the cut to the
| | 05:37 | Floor 3 Door Open.
| | 05:38 | So let's move on from here and see
what happens next naturally in the cue
| | 05:42 | without doing any edits.
| | 05:44 | (clip playing)
| | 05:56 | Okay. So that's actually pretty cool.
| | 05:58 | We've got this little stutter effect when
he tries to go in the door and is denied.
| | 06:01 | I actually like that, so let's keep that.
| | 06:04 | From there, let's see what
we might want to do next.
| | 06:06 | (clip playing)
(Male speaker: There he is!
| | 06:15 | So what I want to do now is find a
piece of music that picks up the intensity
| | 06:18 | after Eli tries to open the
door and finds it's locked.
| | 06:22 | So let's look for that.
| | 06:23 | I believe we already found one later
in this cue here on the next section,
| | 06:27 | but let's listen again.
| | 06:28 | (clip playing)
| | 06:32 | Yeah. So now we have another element that
definitely picks up the intensity, so
| | 06:37 | let's find that downbeat.
| | 06:38 | (clip playing)
There it is.
| | 06:41 | Let's go in and find the
beginning of that transient attack.
| | 06:47 | I'm going to just select it and cut it,
so I'm keeping it in my clipboard to
| | 06:50 | paste it wherever I want to paste it later.
| | 06:52 | I'm going to zoom out a little bit more
and go back here and look at our edit
| | 06:57 | from where that might come in.
| | 06:59 | We want to put it right around the time that
he tries to open the door and finds it locked.
| | 07:02 | (clip playing)
(Male speaker: There he is!)
| | 07:07 | Cool! So we could put it right after the
stutter. The thing that we have to keep in
| | 07:10 | mind if we do that is that it
needs to stay musically in time.
| | 07:15 | So let's put it first right here
and listen to what happens and see why
| | 07:19 | this might not work.
| | 07:20 | (clip playing)
(Male speaker: There he is!)
| | 07:26 | It actually sounds pretty good,
| | 07:28 | but what we've done is we've repeated
the melody in a way that's not natural.
| | 07:32 | So what we want to do is use this same
piece of music with a new element but
| | 07:36 | find a piece of it that has a
continuation of the existing melody, so that we let
| | 07:40 | that play unaltered.
| | 07:43 | So let's drag out the region on the
left and listen to how that melody
| | 07:46 | continues after that stutter break.
| | 07:48 | (clip playing)
(Male speaker: There he is!)
| | 07:54 | Cool! So now let's find that same piece of
the phrase from the region on the right.
| | 07:58 | (clip playing)
There it is.
| | 08:06 | Let's get in there and find the
downbeat, make an edit on that transient, and
| | 08:10 | that's what we'll use this time.
| | 08:12 | So I cut off the bit to the left that
I'm not going to use, zoom out a little
| | 08:16 | so I can see it better, cut the region, and
| | 08:18 | I'm going to find the place
where I want to paste it again.
| | 08:21 | (clip playing)
| | 08:24 | Cool! Right in here, let's go in again and
find that transient on the downbeat,
| | 08:27 | which is right in here.
| | 08:31 | There's our transient, get in right on the
start of that transient attack, and paste.
| | 08:37 | Again, we're probably going to
want to put a crossfade on that.
| | 08:39 | Let's put a little, small one since
it's probably going to play pretty well
| | 08:43 | with that one at all.
| | 08:44 | But let's hear what it
sounds like, just to make sure.
| | 08:45 | (clip playing)
(Male speaker: There he is!)
| | 08:56 | And would you look at that?
| | 08:57 | We've got another nice little natural
change in the music that just happens to
| | 09:01 | pop up right when he walks through the door.
| | 09:02 | (clip playing)
| | 09:06 | One of the best quotes that I've heard,
and I don't know who said it and I wish
| | 09:09 | I did, but they said, "Some of the best music
edits really only have one or two edits in it."
| | 09:15 | You really just let the music play,
but sync it up in just the right way.
| | 09:18 | So that's something I try to live by.
| | 09:20 | We've already got a couple of edits in
here, but it's not too bad, considering
| | 09:23 | we're almost done with this cue.
| | 09:25 | So now let's look at what
happens after that next break.
| | 09:28 | (clip playing)
| | 09:41 | So the music picks up again, which
isn't bad, but we may instead want to
| | 09:44 | actually start taming the music
down, since the cue is winding down.
| | 09:48 | So let's see what happens later in the cue.
| | 09:50 | It looks like we might have
something that might be a better fit later.
| | 09:54 | Let's listen to that again,
so kind of auditioning again.
| | 09:57 | (clip playing)
| | 10:16 | So where this breakdown happens, that
will definitely be something we'll come
| | 10:20 | back to, and we'll use that later to end the cue.
| | 10:22 | But for now, I actually want to check
and see if we have a stutter effect in
| | 10:25 | here and if we do, we may actually
move this section up earlier and use the
| | 10:30 | second break for the first break.
| | 10:31 | But let's check it and
see if it even exists here.
| | 10:33 | (clip playing)
| | 10:37 | It's different, not quite as
pronounced, so we'll leave what we have.
| | 10:41 | The last thing that we may want to
consider here in this section of the song
| | 10:45 | is that we need to shorten this down
so that we get to the ending of the cue
| | 10:48 | a little bit sooner.
| | 10:49 | So let's go ahead and do that.
| | 10:50 | We'll condense this last section
so that we can get to the end in an
| | 10:54 | appropriate amount of time.
| | 10:55 | (clip playing)
| | 11:00 | Okay. So I'm going to shorten these phrases
even more and cut in a half phrase, so
| | 11:05 | basically cutting about a
two-bar phrase right now.
| | 11:07 | So I'll find that transient, make a cut.
| | 11:10 | Now, we'll go later in the song
and find the second bar of the second
| | 11:13 | phrase from this section.
| | 11:15 | (clip playing)
| | 11:20 | So right here is about where
that starts. Let's dial it in.
| | 11:23 | (clip playing)
| | 11:25 | Zoom in, find our transient.
| | 11:27 | (clip playing)
It's over here.
| | 11:30 | Get in there really close,
find the exact spot, cut it.
| | 11:35 | So now we can literally delete this
whole section in the middle, since we're
| | 11:37 | cutting it out, which leaves our cursor
on the end of the previous region. And
| | 11:41 | since we want to move the next region
directly there, we can Ctrl+Click that
| | 11:45 | region, and it will snap there.
| | 11:47 | Let's listen to what it
sounds like without a crossfade.
| | 11:49 | (clip playing)
| | 11:59 | We should put a crossfade on it anyway,
| | 12:00 | so we'll go in there, do a small,
little crossfade, and let's find a spot that
| | 12:07 | will start winding the cue down, and probably
do another two bars, just to make it natural.
| | 12:12 | (clip playing)
| | 12:17 | So right here would be the next
point, which is after another two bars.
| | 12:21 | So let's make a cut there as just kind of a
reminder, and let's listen to what happens next.
| | 12:27 | (clip playing)
| | 12:36 | So there's actually a nice little
change there. We might want to incorporate that
| | 12:38 | change before we cut to the end.
| | 12:41 | So let's do that really quickly;
let's see how that will work.
| | 12:43 | (clip playing)
| | 12:52 | So what we'll have to do is make one
more little edit in here or just change
| | 12:56 | this entire section.
| | 12:58 | But I do like this natural
change of chord progression here,
| | 13:01 | so we'll probably try and keep that--
| | 13:03 | (clip playing)
| | 13:08 | --and instead, just edit this
last chord change onto it--
| | 13:11 | (clip playing)
| | 13:13 | --except what I noticed here is that
this actually uses the same chord change.
| | 13:19 | So we can actually go ahead and take
this entire section, cut it, select the
| | 13:24 | section that we're replacing, and
just paste it right on top of it.
| | 13:27 | We can go in by zooming in here and
make sure that our transients are lined up.
| | 13:32 | They're obviously at different levels,
so we'll absolutely need a crossfade
| | 13:35 | here, but they're in the right place.
And we can just make a crossfade.
| | 13:39 | One way I like to do this sometimes is
I'll just click either right on the grid
| | 13:42 | or near the gird and just Shift+Tab
right to the beginning of the transient and
| | 13:46 | just press F to fade it.
Let's take a listen to that.
| | 13:47 | (clip playing)
| | 13:53 | You know what? I think I put it in the wrong place.
| | 13:54 | We need to go back to this point.
| | 13:56 | So let's check that out.
| | 13:58 | So again, Ctrl+Click it, snap it
earlier, and have a listen to that.
| | 14:02 | (clip playing)
Yeah! That's the right place.
| | 14:05 | So now let's put a crossfade on it.
| | 14:06 | It looks like we have the remnants of the
old fade that got interrupted by our snap,
| | 14:11 | so let's click with the Grabber
tool to select it and delete it.
| | 14:15 | Again, let's just check to make sure
that our sync is still good. Cool!
| | 14:20 | Let's do another little fade,
and now let's listen to our work.
| | 14:23 | (clip playing)
| | 14:32 | So now we've kind of outlined the body of this
cue, we've maintained sync on a few great hits,
| | 14:38 | we've got this build starting
right on the cut to the door,
| | 14:41 | we've got a nice change happening about
halfway through the stairwell, and we've
| | 14:45 | got a nice change happening as Eli
comes through the door on the third floor.
| | 14:49 | And then again another nice change
happens when the music stutters as he tries
| | 14:53 | to enter the locked door, and yet
another nice change happens when Eli closes
| | 14:57 | himself into the morgue.
| | 14:58 | (clip playing)
| | 15:06 | So now the only thing that's missing
is a start and an end for our cue, which
| | 15:09 | we're going to do in the next video.
| | Collapse this transcript |
| Editing the start and end of the cue| 00:00 | First, let's work on the start of this cue.
| | 00:02 | I'm going to zoom all the way out, and
you can see over here on the left there
| | 00:04 | is a region that we left from
before. This has all the material from the
| | 00:08 | beginning of the cue.
| | 00:09 | So let's bring it a little closer to the
rest of our edit and zoom in again, and
| | 00:13 | let's listen to that and
see what we might want to use.
| | 00:15 | I'm going to solo this track.
| | 00:17 | (clip playing)
| | 00:34 | So any of that could work.
| | 00:35 | I'm going to try taking a section of
the beat here and use that to lead into
| | 00:41 | the downbeat on our cut to the door.
| | 00:43 | (clip playing)
| | 00:47 | I really like that filter sweep, so I
probably will grab the very end of that
| | 00:51 | and make the end of that filter
sweep end right on the cut to our door.
| | 00:55 | So let's find which of these
three phrases we want to use.
| | 00:58 | (clip playing)
| | 01:02 | So let's go ahead and grab that last one.
| | 01:03 | So what we'll do is we'll zoom in to the
next beat here right at the end of that
| | 01:08 | filter sweep, and we'll
cut with our S key command.
| | 01:12 | We'll cut the end of that region off.
| | 01:14 | We'll tab to the beginning of the next
region, which is on the cut to the door open.
| | 01:18 | I'm using the key command
Ctrl+Command or Ctrl+Start and clicking the
| | 01:22 | file will snap the end of this region
so that it lines up at the beginning
| | 01:27 | of the next region.
| | 01:28 | So now if we watch the way our cue plays--
I'm going to un-solo this so that we
| | 01:32 | can hear it with the production audio--
| | 01:34 | we can see how this
transition into the cue will work.
| | 01:36 | (clip playing)
| | 01:42 | Cool, and that's actually going to work.
| | 01:43 | So let's go to that edit, make sure
that our alignment is good. Then we want
| | 01:48 | to clean up the crossfade.
| | 01:49 | It's like we may need to pull it
back just a hair to get that first
| | 01:53 | transient in the right place.
| | 01:55 | We'll take this transient, do the same
type of edit we did before, and we'll put
| | 02:00 | a tiny little crossfade on it just to
make sure there is no clicks or pops and
| | 02:03 | listen to make sure it's clean.
| | 02:04 | (clip playing)
| | 02:08 | And sometimes you may want to solo
just the music, just to make sure you're
| | 02:13 | really hearing it properly.
(music playing)
| | 02:18 | Now let's look at the
very beginning of this set.
| | 02:20 | There is a couple ways we can do this.
One would be just to start right on the
| | 02:24 | beginning of this beat
and let it play from there.
| | 02:27 | (clip playing)
(Male speaker: Seventh floor. The subject is now armed.)
| | 02:31 | And that actually works quite well.
| | 02:33 | Let's see how that looks from
the beginning of the picture.
| | 02:35 | So we'll go to our picture Start marker, .3.
| | 02:37 | and see what this looks like.
| | 02:39 | (clip playing)
(Male speaker: Man down, seventh floor. The subject is now armed.)
| | 02:47 | Cool! If we wanted, we can even shorten this
phrase a little more so we come in after
| | 02:51 | the dialog line that says, "Subject is
now armed." So let's find that next find
| | 02:55 | that next beat, which is about halfway
through. I believe this is it, but let's listen.
| | 02:58 | (clip playing)
(Male speaker: Subject is now armed.)
| | 03:01 | Yeah, so if we wanted to shorten it,
we could literally start it right there
| | 03:04 | on that transient.
| | 03:07 | So let's select and mute this
region by Command+M or Ctrl+M, and it'll
| | 03:12 | essentially not play that
piece of audio as we move over it.
| | 03:15 | (Male speaker: Man down, seventh floor. Subject is now armed.)
(clip playing)
| | 03:21 | Cool, and that works, but it feels like we need
something else to kind of get us into the piece.
| | 03:24 | So what we're going to do is look for
another piece, maybe perhaps something
| | 03:28 | from the very beginning, to use there.
| | 03:31 | So let's listen to the
very beginning one more time.
| | 03:33 | (clip playing)
| | 03:35 | Yeah, that's pretty cool, and that won't
get too much in the way of the dialog, so
| | 03:38 | let's look at that--here for our
first zero crossing. And since it's kind of
| | 03:43 | hard to see the zero crossing in the
waveform, I'm going to zoom in vertically.
| | 03:46 | Now that we can see this. We can make
our edit, zoom back out, and locate to
| | 03:53 | where we want to go.
| | 03:54 | I'm going to zoom back out
vertically, so I can see this little better.
| | 03:56 | So what we want to do is take this
section out and put the end of the region
| | 04:01 | we just cut up against the beginning
of our previous region, so we'll use our
| | 04:05 | Ctrl+Command+Click technique to snap it
there, and let's see what that looks like.
| | 04:10 | (clip playing)
(Male speaker: Man down, seventh floor. Subject is now armed.)
| | 04:15 | Yeah, and that works.
| | 04:16 | It may need a little mixing, which we'll get
into later, but let's leave it there for now.
| | 04:19 | Put a little crossfade on
it, and let's look at the end.
| | 04:24 | So the way we left it, let's just take a look.
| | 04:26 | (clip playing)
| | 04:39 | It actually does a nice
transition in a pretty good place.
| | 04:42 | We may just want to shorten it, so
that it actually ends a little bit sooner.
| | 04:45 | So let's look at some different pieces of this
ending that we might pull up and use earlier.
| | 04:50 | (clip playing)
| | 05:03 | Yeah, so many of these could
work, so let's take this one here.
| | 05:10 | And we'll get the very beginning that beat.
| | 05:11 | I'm going to zoom in vertically, so I
can see it better, and grab it here in the
| | 05:16 | first part of the attack.
| | 05:18 | Zoom back out vertically, select it, and
cut it, and then we'll find a spot to put it.
| | 05:23 | So we're going to paste it on here,
a little bit earlier in the track.
| | 05:26 | (clip playing)
| | 05:32 | So let's try it on the third repeat, which may
be too late, but let's see what it sounds like.
| | 05:37 | So we'll paste it in the same place on
the waveform at a zero crossing and just
| | 05:41 | before we do a crossfade, let's
just test it and see if it works.
| | 05:44 | It looks like visually it may
be too long, but let's hear it.
| | 05:47 | (clip playing)
| | 05:59 | Yeah, it is a little too long, but we
can cut some of that off and it will still work.
| | 06:03 | So let's go right before this beat
here starts, cut it off with the S key
| | 06:07 | command. It looks like we've got some audio
behind that, so we can select it and delete it.
| | 06:13 | We'll zoom in there and put a fade on the end.
| | 06:15 | There are a couple of ways to do a fade-out.
| | 06:17 | One is to click where you want to put
the fade and use the G key in Command
| | 06:22 | Focus to fade from your
cursor to the end of the region.
| | 06:26 | And this will make a fade based on the fade
that you have specified in your preferences.
| | 06:30 | For this case, that's not quite the
right type of fade that I want to use, so I
| | 06:34 | can select the fade, either
Shift+Tab from my current location or by
| | 06:38 | double-clicking or by the Grabber
tool, and edit it by pressing Command+F or
| | 06:43 | Ctrl+F. So with the right arrow I can
change the type of fade-out and press OK,
| | 06:49 | and let's listen to that.
| | 06:49 | (clip playing)
| | 06:55 | Cool, so that works pretty well.
| | 06:57 | The only thing we may want to do is
make that ending happen a little sooner.
| | 07:00 | It may take a little too long to get there.
| | 07:02 | So let's try moving it one phrase
earlier. So instead of putting it where it is,
| | 07:06 | we'll go to this second
repeat, and we'll move it up.
| | 07:10 | And again, we can literally just Ctrl+
Click it to snap this last piece to the cursor.
| | 07:16 | Zoom in, make sure it looks right, and
preview it before we put a fade on it.
| | 07:21 | (clip playing)
| | 07:30 | That works better, and we could even
extend our fade-out a little more if we
| | 07:33 | wanted to. It might or might
not work, but let's try it.
| | 07:35 | (clip playing)
| | 07:42 | Yeah, cool enough for now.
| | 07:44 | So now that we like it, let's put a
fade on this last little bit and zoom out.
| | 07:50 | We could select all and use
Option+F or Alt+F to zoom.
| | 07:53 | We can see our entire edit.
| | 07:55 | And let's really quickly just watch
the entire thing from the picture start
| | 07:58 | through and see if we still like it.
| | 08:01 | But before we play this back, let's
make the video window a little bigger.
| | 08:04 | So I'm going to drag this out into the
middle of the session and expand the size
| | 08:08 | so that we can see it better.
| | 08:09 | All right, let's listen to what we've done.
| | 08:16 | (Male speaker 1: Man down, seventh floor. Subject is armed.)
(Male speaker 2: Look out!)
| | 08:27 | (clip playing)
| | 09:05 | So I'm going to put the video
back, make it smaller again.
| | 09:10 | And before we move on, I wanted to
talk about a couple more things.
| | 09:13 | Sometimes you'll run into a situation
where the track that you're working on
| | 09:16 | doesn't have the right start or the
right end. Sometimes what you'll need to do
| | 09:20 | is create an ending. Sometimes you can
find a break in the middle of the song
| | 09:24 | and use that as the ending. Sometimes
you can find a natural downbeat in the
| | 09:28 | song and put a reverb tail on it to
create a fake ending that sounds musical.
| | 09:33 | And for the start, sometimes you can
fade the song in. Sometimes that doesn't
| | 09:37 | work and you'll may need to find a
downbeat in the song and ease it in by mixing
| | 09:41 | it to make it sound natural.
| | 09:42 | There are all kinds of other ways to
work around the fact that the song
| | 09:46 | you're working with may not have all the
elements that you need to build a good start or end.
| | 09:50 | So if you find yourself in that sort
of situation, just remember to have fun
| | 09:54 | and be creative.
| | Collapse this transcript |
| Setting up for a 30-second condensed edit| 00:00 | Now that we've cut our first cue to
picture, let's go off on a little side tangent.
| | 00:04 | Oftentimes you're going to need to
cut music but not cut it to picture.
| | 00:07 | So, for example, perhaps you're cutting
music for a commercial or maybe in the
| | 00:11 | main title of a TV show or a
film or even the end credits.
| | 00:15 | For any number of reasons you may
need to create a shortened version of a
| | 00:19 | piece of music that is a specific length.
| | 00:22 | And I wanted to talk about that,
because oftentimes you're not going to be
| | 00:25 | cutting that to picture.
| | 00:26 | So the first thing that's useful
in doing this is to make a visual
| | 00:29 | representation, or some sort of a
marker system, that gives us our in and out
| | 00:33 | points so we can see exactly
how long our edit needs to be.
| | 00:37 | So let's go to one hour and one minute.
| | 00:40 | We can do so by pressing the equals key
on the numeric keypad and typing in the
| | 00:44 | timecode we want to go to.
| | 00:47 | You can see, just like in our Spot
dialog, the timecode numbers will cycle from
| | 00:51 | right to left as you type them in.
| | 00:53 | So if you make a mistake, you can
just start over and keep typing.
| | 00:56 | Once you get the number you want, press
Enter. And let's make a new marker there,
| | 01:00 | and we'll call this 30 Sec Start. And
it's just a marker; we don't need to change
| | 01:06 | any of the other settings.
| | 01:08 | And now let's hold Shift and click
later in the Timeline to make a selection,
| | 01:13 | and you can see to the right of the
timecode counter we see a start, end, and length.
| | 01:17 | What we want to do is set
that length to 30 seconds even.
| | 01:21 | So right now it's 0 hours, 0
minutes, 19 seconds, and 5 frames.
| | 01:26 | So by holding Shift and clicking and
dragging, we can extend our selection until
| | 01:30 | that number reads 30.
| | 01:32 | We may need to zoom in to get it
accurate enough, because we're zoomed out a
| | 01:35 | little too much to get this
exactly where we want it from here.
| | 01:39 | There are a couple of key commands we
can use to do this, or we can zoom in and
| | 01:43 | simply drag it until we
get the right resolution.
| | 01:47 | But since that still didn't work, even with
zooming in, let's use one the key commands.
| | 01:51 | On a Mac, if you hold Shift and Command
and type the plus key, you can see that
| | 01:56 | it retains the start of the selection
but lengthens the end of the selection.
| | 02:00 | Likewise, if you press the minus key
while holding Shift+Command, it will
| | 02:04 | shorten the selection.
| | 02:06 | The modifier keys on the Windows
would be Shift+Ctrl+Plus or Shift+Ctrl+Minus.
| | 02:10 | So now that we've made our selection, we
can create a new marker at the very end.
| | 02:15 | While we do this, there are several
ways to do it, but since we've got our
| | 02:18 | selection, I'm going to show you a
quick and easy technique to get there.
| | 02:21 | We probably want to zoom in so we can
get down to that frame resolution and get
| | 02:25 | our marker right on the frame.
| | 02:26 | So let's use zoom level 5, and then
we're going to use a very handy shortcut in
| | 02:30 | Pro Tools, but first make
sure your command focus is on.
| | 02:33 | If you press the W key, you'll see that
the end of the current selection snaps to
| | 02:38 | the center of your screen.
| | 02:40 | Likewise, any selection that you
have made will snap to the beginning
| | 02:43 | by pressing the Q key.
| | 02:45 | So we've got our selection.
| | 02:47 | We can press the W key, we can click
near that frame, and we can make our marker
| | 02:51 | right on the end of our 30-second selection.
| | 02:54 | So let's call this marker 30 Sec End.
| | 02:57 | Now let's zoom back out and using Tab
and Shift+Tab, I can verify that the length
| | 03:03 | is indeed 30 seconds even.
| | 03:05 | Now we have a quick visual reference
that will allow us to visually see the
| | 03:09 | length of the Q that we're trying to create.
| | 03:11 | Before we proceed, let's do one other thing.
| | 03:13 | I'm going to zoom all the way back out
to the full view of the session, Option+A
| | 03:16 | or Alt+A. I'm going to select the edit
that we made previously, and I'm going to
| | 03:22 | drag it down into our bin track.
| | 03:24 | So I'm going to hold Control, click and
drag so that it doesn't slip left or right.
| | 03:27 | The other thing I want to do is bring
out an unaltered version of the track.
| | 03:32 | One way to do this is to go to the Region list.
| | 03:35 | I am going to close our memory
locations, and I'm going to scroll through the
| | 03:38 | list until I see the bold
version of the song name.
| | 03:41 | When we see it in bold, that means
that that's the actual audio file.
| | 03:45 | So that's going to be the full song, as
opposed to the non-bold versions, which
| | 03:50 | are regions from that
song from our previous edits.
| | 03:54 | So I don't need that last region.
| | 03:55 | I'm going to take it back out by
pressing Undo, and I'm going to bring back up
| | 03:59 | the memory locations.
| | 04:01 | And we now have the full song that
we can start doing our new edit with.
| | Collapse this transcript |
| First pass of a 30-second condensed edit| 00:00 | So, for now, let's just do this 30-second edit.
| | 00:03 | This could be 60 seconds.
| | 00:04 | It could be any other specific length.
Perhaps you're working on a main title
| | 00:07 | that needs to be 45 seconds or maybe 48 seconds.
| | 00:11 | You can use the same
technique for any length. Okay.
| | 00:14 | So let's look at this.
| | 00:16 | We want to shorten this cue down.
| | 00:17 | It's got a fairly long intro--the intro
is almost 20 seconds by itself--and it's
| | 00:22 | got several sections of build,
and then a nice long outro.
| | 00:25 | So we're going to have to cut quite a
lot out of this song to make it work. But
| | 00:29 | the important thing is that we give
the song the same natural arc and build
| | 00:33 | that it already has.
| | 00:34 | So that's our goal here.
| | 00:35 | We're going to cut out certain
sections but maintain the phrasing as much as
| | 00:39 | possible, try and keep at least one of
the breaks, and at least some sort of an
| | 00:42 | intro and outro, so that when you hear
it, you recognize it as a piece of this
| | 00:46 | full song, rather than just
taking a 30-second chunk of it.
| | 00:50 | Sometimes that can actually work. Perhaps we
wanted a 30-second chunk. We could just go hey!
| | 00:55 | There is 30 seconds, trim. We're good to go.
| | 00:57 | By the way, that key command was
Command+T or Ctrl+T, which we aren't really
| | 01:01 | going to use too much but good to see anyway.
| | 01:04 | So let's move on with our edit.
| | 01:05 | First, let's find a good short intro.
| | 01:07 | (music playing)
| | 01:12 | This is all really cool, but I think
it's going to take us a little too long to
| | 01:15 | get into the meat of the
track for such a short edit.
| | 01:17 | (music playing)
| | 01:22 | So we may need to do something similar
to what we did in our previous edit, and
| | 01:25 | just grab a small intro.
| | 01:29 | So let's snap this to the
beginning of our first marker.
| | 01:31 | I'm going to zoom in here
and find the end of that bar.
| | 01:35 | (music playing)
| | 01:37 | Or rather that two bars, which is right
here. And again, I'm going to make a cut
| | 01:44 | right at the beginning of the
transientm and I'm going to move forward to this
| | 01:48 | first downbeat where the song actually
kicks into full gear, make a cut at the
| | 01:53 | beginning of that transient.
| | 01:54 | Select the region we're going to replace, and
Ctrl+Click the region we want to move there.
| | 02:00 | We'll zoom in, take a quick
listen, and make a crossfade -
| | 02:03 | (clip playing)
Cool! So that works.
| | 02:06 | One other thing I might want to keep is
this cool little snare riff that picks
| | 02:09 | up going into the downbeat.
| | 02:11 | So let's see if we can make that work.
| | 02:12 | (clip playing)
| | 02:14 | So let's find a good, clean spot to
bring that in, do a crossfade, and listen to it.
| | 02:24 | (clip playing)
Great!
| | 02:30 | So we've got a good short, small intro now.
| | 02:32 | I'm going to zoom in, and I'm going to put a
small fade in on the beginning of this region.
| | 02:36 | Now, you can do this really easily
and quickly with Command Focus enabled
| | 02:40 | by pressing the D key.
| | 02:42 | First, you want to locate your cursor
to where you want the end of the fade to
| | 02:45 | be, and by pressing the D key, a
fade will be drawn using your default
| | 02:49 | preferences from that point
to the beginning of the region.
| | 02:53 | Let's undo that, and look at a
different way to make a fade-in.
| | 02:56 | Using the Smart tool, you can place
your cursor on the top left-hand corner of
| | 03:00 | the region, and the cursor will
change so you see this icon.
| | 03:03 | You can now click and drag. And since
we're in Grid mode, we'll also need to
| | 03:07 | hold Command or Ctrl in order to
move this fade off of the grid, or in
| | 03:12 | between the grid lines.
| | 03:13 | So it's just a really small fade
intended to just make sure we don't have
| | 03:16 | any clicks or pops. So now let's move on.
| | 03:19 | (clip playing)
| | 03:23 | Cool! So this is a fairly long phrase.
| | 03:27 | This cue has basically a two
bar phrase before it changes.
| | 03:31 | (clip playing)
| | 03:35 | And even then it's not finished
with the larger musical phrase.
| | 03:38 | So what we're going to do is condense
these several sections probably into
| | 03:42 | one, maybe two, so that this particular
phrase builds throughout the progression of it.
| | 03:49 | In the same way that the larger song
builds throughout the progression of the
| | 03:52 | song, we're just going to
make it do it in much less time.
| | 03:55 | So let's make our first
edit after the first bar.
| | 03:57 | (clip playing)
| | 04:02 | It should be right here.
| | 04:04 | Get in there really close, find the
start of that transient, and let's look at
| | 04:08 | what we want to cut to.
| | 04:09 | (clip playing)
| | 04:12 | So that might be a good spot.
| | 04:13 | Let's find the second bar of
the phrase from that repeat.
| | 04:16 | (clip playing)
Two, cool!
| | 04:22 | So let's get in there and
find the transient again.
| | 04:28 | Using that same technique, we can just
select the previous region, Ctrl+Click to
| | 04:33 | move it into place, and
listen to what we've got.
| | 04:35 | (clip playing)
| | 04:39 | Cool! We may want to keep this moving quickly,
so we're going to go and grab the next
| | 04:45 | bar, and do yet another edit there.
And we're probably going to have to take a
| | 04:49 | section from the next piece after the
first break to keep this building quickly
| | 04:54 | enough to get done in 30 seconds.
| | 04:55 | (clip playing)
| | 04:58 | However, this actually won't work that
well because we have a melody introduced here.
| | 05:02 | So let's look at another option.
| | 05:04 | Let's listen to it again and get a
sense of what happens going into this break.
| | 05:08 | (clip playing)
Okay, cool!
| | 05:21 | So we may want to just have a very short
intro and use this break right away and
| | 05:25 | then jump straight to the melody.
| | 05:26 | So let's look at how we might do that.
(clip playing)
| | 05:31 | Let's find a good spot here to make our edit.
| | 05:32 | I'm going to use the transient
from the snare hit this time.
| | 05:36 | So I want to keep that as a pre-lap, and
let's look at where we're going to place it.
| | 05:41 | (clip playing)
| | 05:45 | That's right about where that snare
hit would be on this side of the edit.
| | 05:49 | So let's look at pasting it there,
make our selection, and paste it in, tiny
| | 05:54 | little crossfade, just to clean up
any pops or ticks, and let's listen to
| | 05:58 | make sure that works.
| | 06:00 | (clip playing)
Yeah, it's cool!
| | 06:10 | We've got a pretty long break right
at the beginning of the cue, so we may
| | 06:12 | want to shorten it.
| | 06:13 | Let's see if that's even feasible.
| | 06:15 | (clip playing)
Yeah, maybe.
| | 06:22 | Let's see what happens in the rest of the edit.
| | 06:23 | If we need more time, we can come back and
shorten it, but for now, let's leave it as it is.
| | 06:28 | So picking up where we left off--
| | 06:29 | (clip playing)
| | 06:38 | Some cool stuff in here.
| | 06:39 | So we're probably going to start
changing this again pretty quickly.
| | 06:44 | We've got a lot of material
left in our song to incorporate.
| | 06:47 | So let's look at this next chunk and see
what happens on the second half of that phrase.
| | 06:52 | (clip playing)
Nice!
| | 06:54 | So we've got another musical element
introduced here that helps build the
| | 06:57 | tension and helps build the cue.
| | 06:59 | So let's use that, but we've got to make
sure we keep our melody playing normally.
| | 07:02 | So we're going to pick up from this next
section of the song, right where we left
| | 07:06 | off in the previous section of the song.
| | 07:08 | So let's listen to that and find it.
| | 07:08 | (clip playing)
| | 07:09 | Okay, right about here.
(clip playing)
| | 07:14 | That's the downbeat of that spot, go
ahead and find the transient, make our edit,
| | 07:20 | cut it, paste it and listen.
| | 07:23 | (clip playing)
Cool!
| | 07:28 | Now, if we really wanted, we could
shorten this even more and bring that in
| | 07:31 | sooner, but I actually really
like this little stutter break here.
| | 07:36 | So I'm going to leave it in there for now.
| | 07:38 | If we need to, we can come back to it
and replace it, but let's try not to.
| | 07:41 | We do still have a lot of material left
though, so let's see how this is going to end.
| | 07:45 | (clip playing)
| | 08:01 | Okay. So this is actually pretty cool.
| | 08:03 | It's more or less the same vibe, but
there's yet another element introduced.
| | 08:06 | So we may want to skip to the second
phrase at the end of this section and use
| | 08:11 | that in place of the edit we just made.
| | 08:13 | So let's look at doing that.
(clip playing)
| | 08:17 | So right here would be the same beat musically.
| | 08:19 | So we'll zoom in, make our edit, select
it, cut it, select the place we want to
| | 08:25 | put it, paste it, and let's look at this
because we have a remnant fade from our
| | 08:29 | previous edit that we want to
get rid of and create a new fade.
| | 08:32 | I'll just press F. And let's listen
to this and make sure this works.
| | 08:35 | (clip playing)
| | 08:50 | Cool! It does work.
| | 08:51 | Now, the only challenge is that this
break comes right before the end, and this
| | 08:56 | last section builds up
again right before the end.
| | 08:59 | So perhaps that's a good spot for us to
start to mellow out the cue, rather than
| | 09:03 | building it up again.
| | 09:04 | So let's look at that.
| | 09:05 | Maybe one way to do it is
to jump right to the end.
| | 09:08 | Let's see if that's even a
possibility by listening to the end.
| | 09:11 | (clip playing)
| | 09:17 | Sure! That could work.
| | 09:19 | So let's go in here.
| | 09:19 | I'm going to pick up the snare hit
right before the end, rather than on the
| | 09:23 | downbeat, just because the snare transient is
more visible; it's easier to find more quickly.
| | 09:28 | Let's find where we're going to place that.
| | 09:30 | (clip playing)
| | 09:31 | It should be on this snare hit,
| | 09:33 | but again, since we're going to keep
this snare hit, what I'm doing is I'm just
| | 09:38 | using this edit technique as kind of a ruler.
| | 09:41 | So we'll keep the snare hit by
dragging out the end of this region with the
| | 09:44 | Trimmer tool and then clean up
the edit on the other side here.
| | 09:49 | We can see right here where the next
beat started in the previous region,
| | 09:54 | so we're going to cut that off, and snap this
by Ctrl+Clicking into place. And let's listen.
| | 10:00 | (clip playing)
| | 10:08 | The music wants to pick up again, but I
think that's also partly because we've
| | 10:12 | heard it already and we
know what it wants to do.
| | 10:15 | So let's see if we can make this work
smoothly with the 30-second duration that
| | 10:19 | we have to work with.
| | 10:20 | So let's select this last region here
and the little snippet that's left from a
| | 10:25 | previous edit, and let's delete those.
And let's listen to the end of our edit
| | 10:29 | one more time from earlier in
the track just to see how it feels.
| | 10:32 | (clip playing)
| | 10:47 | Cool! So that could certainly work.
| | 10:49 | It's not ideal because it does feel
like it wants to pick up after that break.
| | 10:53 | But let's keep this edit and do an alternate.
| | 10:56 | So what we're going to do is make a
selection that includes the entire edit.
| | 11:00 | I'm going to hold Ctrl+Option and drag
the region into one of the bin tracks.
| | 11:05 | And by holding Option,
we're making a copy of our edit.
| | 11:08 | So now we have a copy of this version,
and we can alter the copy that's up on
| | 11:13 | our Edit 1 track without losing what
we've already done, in case we want to
| | 11:16 | come back to it.
| | Collapse this transcript |
| Improving the 30-second condensed edit| 00:00 | So, another possibility would be to
extend the first section of the song, maybe
| | 00:05 | make it play twice as long, and then
end the song right after this break.
| | 00:09 | So let's look at that.
(music playing)
| | 00:26 | Because of the musical phrasing, we
would either have to make it double its
| | 00:29 | current length, or we could
potentially lose the break there and just let the
| | 00:34 | break at the end actually be
the ending rather than a break.
| | 00:38 | So let's look at a couple
of ways we could do this.
| | 00:40 | First, let's try extending
this whole middle section.
| | 00:44 | What I am going to do is I am going
to select the three regions after that
| | 00:47 | section so that they're all selected
together and move them later, just so we
| | 00:52 | have some room to work.
| | 00:53 | Then I am going to pull out the region,
the end of the previous section, and listen.
| | 00:58 | (music playing)
| | 01:09 | So there is the timing that we ended with,
only we had a break before that ending.
| | 01:13 | We are going to use the S key command
to cut off the end of this region, zoom
| | 01:17 | back out, and now I am going to extend
the beginning of the region that we had
| | 01:21 | previously cut to, and let's listen to that.
| | 01:24 | (music playing)
Okay, cool!
| | 01:27 | So there's a downbeat here.
| | 01:28 | We'll pick up where we left off.
| | 01:29 | (music playing)
| | 01:31 | Let's find the transient and use the
A key command to cut everything to the
| | 01:35 | left of the region.
| | 01:37 | Then we want to select the rest of the
edit, which you can do by holding Shift
| | 01:40 | and clicking after it, or which you can
do by holding Shift+Tabbing until you
| | 01:46 | select the entire thing.
| | 01:48 | We can cut it, Option+Tab earlier and V
or Command+V or Ctrl+V to paste it, and
| | 01:53 | let's listen to that.
(music playing)
| | 02:11 | Cool! So that works much better.
| | 02:14 | We are going to put a fade on that edit,
zoom back out, look at the whole thing.
| | 02:18 | Now the only problem here is
that our ending is much longer,
| | 02:23 | so we need to shorten the cue a little bit more.
| | 02:25 | So one thing we may do is cut the intro in half.
| | 02:28 | (music playing)
| | 02:32 | Which will work great. So let's try that.
| | 02:33 | Let's find the downbeat here
that we are going to want to cut to.
| | 02:37 | I am going to zoom in vertically so I
can grab a little bit before the actual
| | 02:42 | transient, and let's put a fade
right on the beginning of this.
| | 02:47 | Let's zoom back out, zoom back
out vertically, and listen to this.
| | 02:51 | (music playing)
Cool!
| | 02:55 | It's a very short intro, but for
a 30-second edit that will work.
| | 02:59 | So this sounds great,
(music playing)
| | 03:02 | but there was a sound at the beginning
of our last version that I really liked.
| | 03:06 | Let's pull this back up so we can hear it.
| | 03:08 | So I am going to select it, copy it, use
the P key to bring it up, and paste it.
| | 03:12 | I am just going to listen again.
There is a cool little sound effect in there.
| | 03:16 | So we may want to keep that.
| | 03:17 | So one way to do that would be just to
find the transient of the snare attack on
| | 03:21 | beat two, cut that region, find the
transient of the snare attack on beat two
| | 03:28 | where we want to place it.
| | 03:29 | Let's cut everything to the left of it.
And then using a technique that we went
| | 03:33 | over earlier, we can go down to the
track below, using the semicolon key, paste
| | 03:38 | and use K to snap the region earlier.
| | 03:41 | Let's zoom into that with Option+F or
Alt+F, Ctrl+Click and drag it up, and let's
| | 03:46 | listen to what we have.
| | 03:47 | (music playing)
Cool!
| | 03:50 | So this will work.
| | 03:51 | However, we notice that the filter
shifts very drastically on beat two.
| | 03:55 | So what we are going to do need to do
is cheat that by crossfading a larger
| | 04:00 | amount of musical material so
that it sounds more natural.
| | 04:03 | We've already got our
fade-in on the beginning here,
| | 04:04 | so we are good there.
| | 04:06 | So let's see if we can do this.
| | 04:07 | One thing we've got to be very
cautious of is making sure that we don't have
| | 04:10 | any phasing introduced, and that can
happen if the first and second regions
| | 04:13 | aren't perfectly aligned.
| | 04:15 | So let's try it, see if it works.
| | 04:17 | So we select the amount that you
want to put the crossfade on, probably a
| | 04:21 | pretty big amount, so that when you do put the
crossfade on, the filter sweep sounds natural.
| | 04:25 | Then I am going to use the F key
command to place a fade, and let's listen.
| | 04:29 | (music playing)
Not bad.
| | 04:33 | There are a couple of
things we can do to edit this.
| | 04:36 | We've gone over editing our
fades before, so let's do that.
| | 04:38 | Select the fade, Command+F or Ctrl+F.
And I want to edit the incoming fade so
| | 04:43 | that it is a little softer in level
than the outgoing fade, and this will help
| | 04:47 | the filter sweep sound a little more
natural, and it would also keep the level of
| | 04:51 | the two files as they play together
closer to the level of the original master.
| | 04:55 | What can happen sometimes when you do
crossfades is that the level of the two
| | 04:59 | files playing at the same time
through the crossfade can add up and become
| | 05:03 | louder than it actually
was in the original track.
| | 05:06 | So this will help us with that as well.
| | 05:07 | (music playing)
| | 05:11 | And that's totally acceptable.
| | 05:12 | We don't hear any bad phasing in there.
| | 05:14 | Now let's move this entire edit
earlier to our 30 second start market.
| | 05:18 | So let's select the whole thing, cut, locate
our 30 second start marker, .5. and V to paste.
| | 05:26 | Now we can see that our ending is
really close to where we want it to be.
| | 05:28 | So let's listen the whole thing and
figure out how we are going to end it.
| | 05:31 | (music playing)
| | 05:41 | But before we do, now that we've
extended this intro, we don't have to jump to
| | 05:45 | this next section quite as early. And
by moving it later, we will have a little
| | 05:48 | bit more musical of a build.
| | 05:50 | So let's extend it two bars so that it
starts on the next part of the phrase.
| | 05:54 | (music playing)
| | 06:00 | And we'll listen one more time.
(music playing)
| | 06:07 | Yeah, I am going to put
this on this downbeat here.
| | 06:10 | So I am going to zoom in, just find
it really quickly, and make sure our
| | 06:12 | transients are matching.
| | 06:14 | So here is this transient, and we are
right on, so we can do a quick fade, and
| | 06:19 | let's listen to it again.
| | 06:20 | (music playing)
| | 06:30 | Yeah, that's a lot more natural.
(music playing)
| | 06:52 | Cool! So now we are going to have to end this
slightly differently, because we can't
| | 06:57 | play this additional material.
| | 06:59 | We are already out of time.
| | 07:00 | So we can take it off and
either end it like this--
| | 07:03 | (music playing)
| | 07:09 | --which we probably want to put a
fade on if we were to do that.
| | 07:12 | But since it's not fading, that means
there must be a small fade already on
| | 07:16 | the end of this region.
| | 07:17 | So let's zoom in, look at the end, zoom
in a little more, look at the end--again
| | 07:22 | I am using the W key to
center the end of our selection.
| | 07:24 | You can see that there is
indeed a small fade there.
| | 07:26 | So let's select it by using Ctrl+Tab and Delete.
| | 07:30 | Now we can zoom back out in say zoom
level 3 and put a new fade on here.
| | 07:34 | Let me zoom in a little more actually.
| | 07:36 | But now we can use the G key to create a
fade from the cursor to the end or undo.
| | 07:42 | You can select to the end by pressing
Shift+Tab, creating a custom fade by
| | 07:46 | Command+F or Ctrl+F. So
it's an acceptable ending.
| | 07:52 | It's not great, but let's
see if we can improve it.
| | 07:54 | (music playing)
| | 08:03 | So it might be cool to cut off this
last beat altogether and let it end at the
| | 08:07 | bottom of that filter sweep.
| | 08:09 | So let's look at that and see if that will work.
| | 08:10 | Find the beginning of that snare beat,
cut it off with the S key command, and
| | 08:15 | listen to this break without that.
| | 08:16 | (music playing)
| | 08:21 | Yeah, that will work, but
we do have a little remnant.
| | 08:23 | So I am going to scrub in there and
find it. And it sounds like it's this last
| | 08:28 | little chunk has a bit of
some snare pickup in it.
| | 08:32 | So one way around this would be to
literally cut this entire section off, put
| | 08:36 | a fade-out on the end, and then use a
little reverb tail to get us across to
| | 08:40 | the end of the edit.
| | 08:42 | So let's look at how we could to do.
| | 08:43 | Let's make a selection, and in our
AudioSuite menu we can find one of a reverbs.
| | 08:50 | Open the Reverb, get a setting
that's roughly where you want it, and press
| | 08:54 | Process, and this will render a reverb file.
| | 08:57 | Now you can see this is probably
going to be a little bit longer, just so I
| | 09:01 | have more to work with.
| | 09:02 | So I am going to undo that, I am going
to extend my selection, and process again.
| | 09:07 | I can close the Reverb once
I've got something I like.
| | 09:09 | I am not sure if this is going to be
perfect, but it's good for the example.
| | 09:13 | Then in order to edit between the
reverb tail and our natural music, we are
| | 09:17 | going extend our music right up until
the last minute that we can make it play
| | 09:21 | without hearing the section that we
don't want to hear, and then we are going to
| | 09:24 | put a nice long crossfade across the two.
| | 09:27 | So we will make our selection, Command+
F or Ctrl+F to edit it. And I am going to
| | 09:31 | edit the incoming fade to be louder
this time and the outgoing fade to be a
| | 09:35 | little softer this time, and that will
allow the reverb to feel more natural.
| | 09:39 | So let's listen to that.
(music playing)
| | 09:43 | Okay, so that could work, but the
reverb is actually a little bit loud.
| | 09:46 | So what we want to do is go back and get a
better-sounding balance on the reverb level.
| | 09:51 | So I am just going to undo a few
times until I have the selection, go back
| | 09:55 | into my AudioSuite > Reverb. Maybe
use a Medium room this time, maybe use a
| | 10:00 | Plate instead of a Hall.
| | 10:01 | You can try whatever you want to get
the right setting for this specific piece
| | 10:05 | of music that you are working on.
| | 10:06 | I'm going to extend this
selection and process one more time.
| | 10:10 | It still looks a little loud,
| | 10:12 | so I may want to make the reverb softer,
which you can do by dropping the Input
| | 10:16 | Level, and let's see how this will feel.
And that's a little closer.
| | 10:22 | That will work better.
| | 10:24 | Again, it's probably not
perfect, but you get the idea.
| | 10:27 | So we will recreate our edit one more
time, take out the section that has little
| | 10:31 | the little bit of snare noise. And one
more time we will recreate that last fade
| | 10:35 | and again by pressing Command+F or
Ctrl+F, we will get the exact same fade that
| | 10:38 | we already did so we don't have
to recreate it, and let's listen.
| | 10:42 | (music playing)
Cool! That could work.
| | 10:45 | Now let's put a fade-out on that
reverb since we don't need the whole thing,
| | 10:49 | maybe shorten it a little bit since it's a
bit long, and listen to the end one more time.
| | 10:53 | (music playing)
Cool!
| | 10:56 | That certainly is an
acceptable ending for this edit.
| | 10:59 | We could probably find other ways to improve it.
| | 11:01 | The bottom line is that we've got a
nice 30-second condensed edit of this song.
| | 11:06 | Another thing I really quickly want to
point out is that while the end here is a
| | 11:10 | little bit longer than our actual 30 seconds.
| | 11:12 | You do a little bit of leeway
because typically there's enough room on a
| | 11:16 | radio spot for that tiny little bit of
a reverb tail. Or if it gets cut off
| | 11:20 | in broadcast, it's such a small
amount of volume that you're losing that it's
| | 11:24 | never even noticed.
| | 11:25 | So I would say as long as
you're under 3 to 5, maybe 7 frames,
| | 11:30 | over or under you're generally
considered good with a 30- or 60-second edit.
| | 11:34 | So before we move on, let's listen to this
one more time so we can see what we've done.
| | 11:37 | (music playing)
| | 12:10 | So while most of this cue is really actually
pretty good, I'm not happy with the ending yet.
| | 12:14 | So let's look at one
other way that we can end it.
| | 12:15 | We are going to take some of the
elements from our previous edit and see if
| | 12:19 | we can use them here.
| | 12:20 | (music playing)
| | 12:24 | Cool! So this first little chunk
would be a good way to end the song.
| | 12:28 | So I am going to cut off the tail. I'll
select it and cut it and find a place to
| | 12:34 | place it on our edit.
| | 12:35 | (music playing)
| | 12:38 | And probably right here, musically, which
is a beat in the song, and we'll paste it.
| | 12:43 | We are going to remove the first
little fade that's already on there from our
| | 12:47 | previous edit, and I
Ctrl+Option+Tab to select it and delete it.
| | 12:51 | I am going to put fade on it, maybe
too big as you can see that in that
| | 12:55 | crossfade we've got some of the
downbeat, which we are not going to want.
| | 12:57 | So I am going to move it left so
that we don't get that, and let's listen.
| | 13:01 | (music playing)
| | 13:06 | We've got a little region here at the end.
| | 13:08 | We can put a fade on this, edit the fade to
make it a little bit more appropriate,
| | 13:14 | and probably shorten this fade here,
and even make the outgoing fade a little
| | 13:18 | bit louder so that it feels like it
cuts off more abruptly on that change. And
| | 13:22 | let's listen to that.
(music playing)
| | 13:26 | So let's listen to that in context.
| | 13:30 | I think we've got a much
more functional edit now.
| | 13:32 | (music playing)
| | 14:04 | Cool! Yeah, that definitely is a more
natural ending than the reverb tail idea.
| | 14:08 | So now that we've gone over some of these
techniques, you can use these to cut music,
| | 14:12 | one, to picture, or two, without picture,
just to any length that you may need to
| | 14:17 | cut a piece of music to.
| | 14:18 | So maybe you just want to make a
ringtone, or maybe you're going to cutting 30- or
| | 14:21 | 60-second versions of your
own music for a music library.
| | 14:24 | There are any number of reasons why you
might be making a condensed musical edit of a song.
| | 14:29 | But some of these techniques
are very helpful in doing so.
| | 14:32 | Really, the bottom line is you've just
got to trust your own musical instincts.
| | 14:35 | So every time you do this you're in
charge, and you are making those decisions.
| | 14:39 | So go out there and have fun.
| | Collapse this transcript |
|
|
4. Creating Alternate EditsExploring alternate edits of the same song| 00:00 | When you're cutting music to
picture you're almost always going to have
| | 00:03 | alternate takes or alternate edits of
the piece of music or various pieces of
| | 00:08 | music that you're cutting.
| | 00:10 | So now what I want to do is explore a
different edit using the same song that
| | 00:14 | we've already cut to picture.
| | 00:16 | So one way to do this is to start
with our existing edit as a basis,
| | 00:20 | Ctrl+Option+Click and drag it up to our
edit track, and quickly have a listen to
| | 00:26 | remind ourselves of what we did.
| | 00:27 | Actually, we're going to start
from our picture start marker .3.
| | 00:32 | (Male speaker: Man down,
seventh floor. Subject is now armed.)
| | 00:36 | (music playing)
(Male speaker: Look out!)
| | 01:21 | So what if instead of having our edit
play the way it does on the scene, we
| | 01:24 | wanted to change that?
| | 01:26 | What if we wanted instead of having a break
here when Eli goes inside the morgue room,
| | 01:30 | what if we wanted to have that music
stay continuous, or what if we wanted to
| | 01:34 | change the sync of a piece of the music
against a certain spot in the picture?
| | 01:38 | So that's what we're going to explore here.
| | 01:40 | So again, one way you can do that
is by altering an existing edit if
| | 01:43 | you've already made one.
| | 01:44 | Another way to do it is by starting
from scratch. But for now let's start with
| | 01:47 | this edit that we've already made.
| | 01:49 | So one thought that I had when watching
it back is that it might be cool to do
| | 01:53 | an alternate version that
brings the melody, this section--
| | 01:56 | (video playing)
| | 02:01 | --and place it earlier over the
first section where the beat comes in.
| | 02:04 | (video playing)
| | 02:08 | So let's try this.
| | 02:09 | Let's select the very first
transient of this section.
| | 02:13 | (music playing)
| | 02:18 | I'm going to Shift+Tab to select the
rest of that section that we have in this
| | 02:22 | region, copy it, select the region
where I want to paste it, and paste it.
| | 02:26 | Then we can listen to that.
| | 02:28 | (Male speaker:--now armed.)
(video playing)
| | 02:38 | So we're obviously going to need to
continue that, but before we do, let's
| | 02:41 | crossfade the first edit.
| | 02:42 | We're going to zoom in here and we're
going to have to delete the old remnant of
| | 02:45 | the fade that was there, make our
selection, press F to fade, and then we'll
| | 02:50 | look at the end of the region in our new edit.
| | 02:52 | (Male speaker: Look out!)
(video playing)
| | 02:55 | And it's actually kind of cool that we now
have the stuttering effect over the sparks flying.
| | 02:59 | So let's continue that phrase.
| | 03:01 | We are going to grab this next piece.
| | 03:02 | (video playing)
| | 03:03 | The music we continued. Let me just double-
click to copy it, double-click and paste.
| | 03:10 | We'll zoom in here and double-check
that our edit is going to work musically.
| | 03:13 | So let's just make sure
that this is a clean edit.
| | 03:16 | I'm going to make sure that our
transients line up, which they more or less do.
| | 03:20 | It's a little bit different here,
| | 03:23 | so we may want to try and moving it
a sample back, but no, that's too far.
| | 03:29 | So let's undo, put it back where it
was, and put a crossfade on it, and
| | 03:32 | let's listen to this.
(video playing)
| | 03:44 | Cool! So now what we've essentially done is
followed the same arc and build that the cue already had,
| | 03:49 | only we've cut to the melody
earlier in the cue. And we're still maintaining
| | 03:53 | a break as Eli like
comes to the door on floor 3.
| | 03:55 | (video playing)
| | 04:02 | So now what we need to do is delete this
section that we've already used earlier
| | 04:06 | in the edit and find a way to
fill the rest of that space.
| | 04:09 | So let's drag out the end of the region
that we cut to and see what plays from there.
| | 04:13 | (video playing)
| | 04:29 | Some cool stuff in there
that actually plays nicely.
| | 04:32 | I like this little echo-y, stutter-y
thing that happens after Eli closes
| | 04:36 | himself in the morgue.
| | 04:37 | I am going to cut the very end of
that section on the transient of the next
| | 04:41 | section and delete the section that
we're not going to keep. Then I'm going to
| | 04:44 | drag forward the beginning of the
region from the end of our edit so that it
| | 04:48 | lines up with the end of the rest of our edit.
| | 04:51 | So what we want to do now is hold the
Ctrl key and using the Trim tool, we can
| | 04:54 | click and drag past to that edit, but
while the Ctrl key is held, it will not
| | 04:59 | drag our region on top of the other region.
| | 05:01 | It will stop when it reaches the region
boundary, which is another handy way to edit quickly.
| | 05:06 | So let's listen to this and see if it works.
| | 05:08 | (music playing)
| | 05:20 | Cool! So the edit itself seems okay.
| | 05:22 | Let's just make sure
everything is still in phase.
| | 05:25 | Now it looks like we may
have to adjust this slightly.
| | 05:29 | So let's find the beginning of the
transient, select through the end, cut, zoom
| | 05:34 | back in, find the beginning of the
transient where we want to line this up, and
| | 05:38 | paste, and again put a crossfade on.
And let's listen again through the rest of
| | 05:43 | this edit just to make sure that
it's still going to play musically.
| | 05:46 | (video playing)
| | 06:19 | Cool! So that does work.
| | 06:20 | There is a little bit of something going on
here at this edit that I'm not sure I like.
| | 06:24 | (music playing)
I mean it does work.
| | 06:28 | It sounds like what we have is a
little bit of a pickup or some sort of a
| | 06:30 | cymbal, but it's actually in the music already.
| | 06:34 | So we hear it carrying over, and it made me
think that there was something going on
| | 06:38 | with our edit, but it's
really actually part of the music.
| | 06:41 | We can look at it here, and we can look
at it here, and we hear that it does the
| | 06:47 | same thing in both cases.
| | 06:49 | So now let's look at our new alt.
| | 06:51 | I'm going to go to the Picture Start
marker again, .3., and I'm going to play.
| | 06:57 | (Male speaker: Man down, seventh floor
Subject is now--)
| | 07:00 | So one other thing we're going to change
in this edit is the very first bit that
| | 07:03 | plays at the beginning of it.
| | 07:05 | I want to take this off so we have a
slightly different start than our other variant.
| | 07:09 | So I'm going to just select it and delete it.
| | 07:11 | I'm going to put a new little crossfade
on the beginning of this transient. And
| | 07:18 | when you make a fade-in you have to
have at least four samples selected.
| | 07:21 | So sometimes when you try and
make a fade, it won't happen.
| | 07:24 | If that happens it's because perhaps
you're zoomed into far and there is not
| | 07:27 | enough material selected.
| | 07:29 | So here we have at least four
sample selected; here we don't.
| | 07:32 | So let's make our fade with four samples
and listen to the new beginning of the edit.
| | 07:36 | (Male speaker: Man down, seventh floor
Subject is now armed)
| | 07:42 | So this is good in that
it clears the dialog line,
| | 07:45 | it picks up after the dialog line, and it's
a slightly more quick lead-in to the action.
| | 07:50 | So this is one alt, but perhaps we
wanted to make several other alts.
| | 07:54 | Typically, when you're editing your
music you're going to decide as you go that
| | 07:58 | maybe this one thing could be cool.
| | 07:59 | I'm going to explore that later.
| | 08:01 | This other thing could be cool;
| | 08:02 | I'm going to explore that later.
| | 08:03 | Sometimes you make an edit and you find
that it's just as good as it's going to
| | 08:07 | be with that particular song.
| | 08:08 | So really just follow your intuition and
you'll find which things may or may not
| | 08:12 | work, and you can explore them until
you're happy with every different version.
| | Collapse this transcript |
| Editing different songs to the same scene| 00:00 | When you're editing music in film and TV
it's very common that you are going to
| | 00:03 | make several edits of the same song, but
it's also very common that you're going
| | 00:07 | to edit several songs to the same scene.
| | 00:10 | The reason that we'll do this is
because the producer or the director may want
| | 00:13 | to choose the best
possible song to score that scene.
| | 00:16 | Sometimes the first song is the
best one and sometimes it's not.
| | 00:19 | So let's import another song and
cut a different song to this scene.
| | 00:23 | First though, let's save the
second edit we made of Leebock 2.
| | 00:26 | Let's select the edit, hold down the
Ctrl key, and click and drag the audio file
| | 00:31 | down to our second BIN track. Just a reminder:
| | 00:34 | when you hold the Ctrl key, it prevents you
from accidentally slipping the edit out of sync.
| | 00:38 | So now I am going to save the session,
and import via one of the methods we
| | 00:42 | talked about before.
| | 00:43 | I am going to use Shift+Command or
Shift+Ctrl+I. I am going to choose the second
| | 00:47 | song that we're using from our Example
Music folder in the ELI_Session folder.
| | 00:51 | This song Right Here, Right Now
(Caukizzle Mix) by composer Simon Heselev, who
| | 00:57 | also wrote Leebock 2,
| | 00:58 | we're going to add this
to our session and close--
| | 01:01 | Command or Ctrl+W--and we're going to
add this to the Region List, so click OK.
| | 01:05 | I am going to close the Memory
Locations window, find the new song that we just
| | 01:09 | imported, and bring it out
into our Pro Tools timeline.
| | 01:12 | You can bring back up the
Memory Locations window if you want.
| | 01:18 | Let's quickly just have a listen.
| | 01:19 | We're not going to listen to the whole
song, but we'll just skip around, get a
| | 01:22 | few sections of the song by looking at
the waveforms to familiarize ourselves
| | 01:25 | with it a little bit.
| | 01:26 | Now if you do want to listen to the
whole song, please feel free to do so.
| | 01:29 | I am going to solo this track and have a listen.
| | 01:32 | (music playing)
| | 01:50 | Cool! So we can see here is about
where the action is going to pick up.
| | 01:53 | I'm going to go ahead and make a sync point
there, just as a reminder for myself.
| | 01:57 | (music playing)
| | 02:00 | Find a good spot near the start of this.
| | 02:03 | I am going to make the Sync Point
with Command+Comma or Ctrl+Comma, and we can--
| | 02:08 | (music playing)
| | 02:11 | By the waveform we can kind of tell
what's going on in the song, and we kind of
| | 02:14 | know that this is all part of that groove.
| | 02:17 | So we're going to skip
ahead here and see what changes.
| | 02:19 | (music playing)
| | 02:23 | So that's a cool little break, and then
it comes back in to the groove again but
| | 02:26 | develops it a little further.
(music playing)
| | 02:42 | Yet another build, more of that.
| | 02:45 | (music playing)
| | 02:50 | And we can see here is a big change coming up.
| | 02:52 | (music playing)
| | 03:02 | This could be a great break to use if
we ever need a break in the song.
| | 03:05 | And also, if you need an ending,
this kind of material can make a great ending.
| | 03:09 | Now I am going to listen to the end of
this break getting back into the song.
| | 03:12 | (music playing)
| | 03:21 | Great! So this has got a lot of good action here.
| | 03:23 | Since I've already made a sync point, I may
just want to make a cut in the audio file.
| | 03:28 | That way I can remember
right here is the next section.
| | 03:32 | I mean I can see it as well, but by
making a cut, it's really easy to find it again.
| | 03:36 | Let's see what changes here.
| | 03:37 | (music playing)
| | 03:45 | Cool! Still cool beat, but it calms down a
little bit from before, and then again at the
| | 03:49 | very end let's take a listen.
(music playing)
| | 04:16 | So it's got a fade-out
at the ending of the song.
| | 04:20 | Now let's look at assembling an edit
that follows the same arc from what we
| | 04:23 | built with the first song, but we can
change things as needed to make it work
| | 04:27 | better with this particular piece of music.
| | 04:29 | So the first thing that we're going to
want to try and do is start with a piece
| | 04:32 | of music that has a great groove
kicking in right as that door opens and Eli
| | 04:36 | comes running down the stairway.
| | 04:38 | So first, let's locate to
the door open marker; .1.,
| | 04:42 | and second, let's snap our region to
that point by using the sync marker. And
| | 04:47 | again that's Ctrl+Shift and then
clicking the region with the Grabber tool.
| | 04:51 | So you can see we've lined up the
region that we marked before with the sync
| | 04:55 | point to that point.
| | 04:56 | So we can take a quick look
and see what this looks like.
| | 04:58 | (music playing)
| | 05:02 | So that works.
| | 05:05 | That kicks in at the right spot. And we
want to start our intro now and work on
| | 05:10 | our intro right away.
| | 05:11 | So let's see what we can do to shorten this
intro up and make it start in the right place.
| | 05:14 | (music playing)
| | 05:28 | So, it's a pretty long intro.
| | 05:29 | We may want to just start it right with
the beat after that first line of dialog.
| | 05:33 | So let's see what that looks like.
| | 05:34 | I am going to cut off the rest of the
intro and play from our Picture Start
| | 05:37 | marker with the edit track un-soloed,
just so I can hear this in context.
| | 05:42 | (Male Speaker: Man down, seventh floor.)
| | 05:48 | So I think that will work.
| | 05:49 | We're going to have to mix it a little
bit so that it plays better with the dialog.
| | 05:52 | We're going to get into that in the next
chapter, but for now let's just get the
| | 05:56 | alignment of the edit right.
| | 05:57 | (music playing)
| | 06:01 | So that does work, but it is a little bit harsh.
| | 06:03 | So we may want to consider
perhaps fading in up to that point.
| | 06:07 | Let's see what that sounds like.
| | 06:09 | (music playing)
| | 06:13 | Interesting!
| | 06:14 | We'll definitely need to mix this to make it
work if we do end up putting a fade-in on it.
| | 06:18 | So for now let's leave it how we had it,
with a short intro, and we'll come back
| | 06:23 | to this intro when we work on the mix.
| | 06:26 | (music playing)
| | 06:40 | Cool! So we have a snare hit in the music
naturally like when Eli comes through the
| | 06:45 | door on the third floor.
| | 06:47 | So we can take advantage of that in our editing.
| | 06:49 | We'll probably want to
change the music there as well.
| | 06:51 | So let's see if we can find another
spot where the music can either pick up in
| | 06:54 | intensity or change when
Eli comes through that door.
| | 06:57 | (music playing)
| | 07:02 | So we could use this.
(music playing)
| | 07:05 | And introduce the synth there.
That's one way we could it.
| | 07:08 | Let's see what that sounds like.
(music playing)
| | 07:14 | Okay. Here we go!
| | 07:15 | That's our downbeat.
| | 07:16 | Let me find a good zero crossing,
cut it. And here I have made an edit
| | 07:23 | on that snare beat.
| | 07:24 | (music playing)
| | 07:29 | We're actually going to be pasting this
on the downbeat after the snare beat to
| | 07:32 | keep the music in time.
| | 07:34 | So let's look at that, find the
similar zero crossing, and listen to what we
| | 07:40 | have with this edit.
| | 07:41 | (music playing)
| | 07:49 | So that works in the sense that we've
got the synth now coming in on top of the
| | 07:52 | groove as Eli comes through the door,
| | 07:54 | but I did hear a cool little snare
riff in the music leading up to that.
| | 07:57 | So we may want to use that in our edit.
| | 07:59 | I am going to drag out to beginning of
this region, remove the remnant of the
| | 08:03 | fade that was there from
before, and listen to this.
| | 08:07 | (music playing)
We might need to get a little bit more.
| | 08:11 | Let's listen again.
| | 08:15 | (music playing)
Cool! So now I've got that snare riff in there.
| | 08:17 | While that's cool, it does
drop out a certain element.
| | 08:21 | We hear that a certain synth sound
disappears when we cut to that snare, which
| | 08:27 | is not a bad thing in this style of
music, especially; that can be very common.
| | 08:32 | But we can also explore ways to
keep it in, should we want to,
| | 08:35 | one of which is to use a crossfade.
| | 08:37 | So we can select the beginning with a
crossfade and extend the end to where we'd
| | 08:41 | want that sound to continue through
to and bring up the crossfade menu with
| | 08:44 | Command+F or Ctrl+F. And we can
literally just extend the start of our outgoing
| | 08:49 | fade to allow more of that sound to
come through, while our incoming fade does
| | 08:54 | exactly what it did before.
| | 08:56 | Now let's see if that works.
| | 08:58 | (music playing)
| | 09:02 | And yes, it does work;
| | 09:03 | however, we've cut off the beginning
of that first snare note because our
| | 09:06 | incoming fade is now going longer.
| | 09:09 | So we're going to want to bring this
further towards the start to allow more of
| | 09:10 | Cool! So I can see that there's
already some natural sync in the scene.
| | 09:14 | that note to play, and we can still see here's
the snare note. The fade is ending after it.
| | 09:19 | So we need to now extend the beginning
of the fade so that that fade-in lets us
| | 09:23 | hear the beginning of that snare note.
(music playing)
| | 09:28 | There we go!
| | 09:29 | So that will work.
| | 09:31 | The only other thing we may want to do
is maybe make this fade a little bit less
| | 09:35 | long and a little bit less loud, since
the doubling up of the two pieces of audio
| | 09:39 | is going to make the audio louder in
this part of the track than it is normally.
| | 09:43 | (music playing)
| | 09:47 | So now it's a little closer to the normal level.
| | 09:49 | Let's see what the rest of
the scene is going to look like.
| | 09:51 | (music playing)
| | 10:15 | We hear some musical change happening.
| | 10:17 | We hear a cymbal crash as Eli closes the
door behind him once he gets inside the morgue.
| | 10:25 | We may not use that piece of music, but
we can tell because of the placement of
| | 10:28 | it and the timing of it that if we
were to edit something else there we would
| | 10:32 | have a nice sync with picture.
| | 10:33 | So let's see if we can find another
section that might be better used there.
| | 10:37 | (music playing)
| | 10:43 | So if we want to go to a break there, we
could cut perhaps directly to the break
| | 10:47 | that's naturally in the song.
| | 10:49 | Let's see if that works.
| | 10:50 | So I am going to select it, make a
cut, and cut it into the clipboard and
| | 10:56 | find that section again.
| | 10:57 | (music playing)
| | 11:04 | And we'll paste what we have on our
clipboard in the right place, which I
| | 11:08 | believe is right around here.
| | 11:10 | (music playing)
| | 11:16 | And I can see that I am a little
early by about one wave cycle.
| | 11:18 | So I am going to move and adjust
that to put it in the right place, and
| | 11:27 | let's listen to that.
(music playing)
| | 11:46 | So now we have a really
nice change on this section;
| | 11:48 | however, we may not want the music to
continue playing so to build back in to the track.
| | 11:53 | So we may make this an actual ending.
| | 11:56 | One way to do would be to cut it off before
the build starts again and to put a fade on it.
| | 12:00 | I am going to move this later, just to
get it out of the range of what we're
| | 12:03 | going to be hearing, and let's listen to that.
| | 12:05 | (music playing)
| | 12:22 | And that's pretty cool.
| | 12:23 | It works, although you can hear
the drum hits ramping up again still
| | 12:26 | through that fade-out.
| | 12:27 | So if we were to do this, we'd probably
need to shorten the fade-out and make it
| | 12:31 | end a little sooner so that
that's not as noticeable.
| | 12:33 | (music playing)
| | 12:50 | Okay. So this is an okay edit.
| | 12:52 | It's maybe not ideal,
| | 12:53 | so let's look at something else
we could do with an ending here.
| | 12:56 | Before we do that, I am
going to move the picture.
| | 12:58 | We can open and close the picture window by
Command+9 or Ctrl+9 on the numeric keypad.
| | 13:03 | So now I can see the tracks that are
hidden by it. And I am going to make a new track.
| | 13:08 | Shift+Command or Ctrl+N, Command+Right
or Ctrl+Right to make it stereo. And I
| | 13:12 | am going to call this BIN 3, and I am
going to deactivate it like we did before
| | 13:20 | and I am going to shrink it to match the
size by using the key command Ctrl+Down Arrow.
| | 13:27 | So let's select this edit.
| | 13:28 | Ctrl+Option or Ctrl+Alt+Click and drag
it down, so we have it just in case we
| | 13:33 | want to use that, and let's
look at a better way to end this.
| | 13:36 | I am going to delete the ending and I am going
to see what else is in the rest of this song.
| | 13:40 | (music playing)
Ah! That's right.
| | 13:44 | We forgot about this section.
| | 13:45 | This section has a lot of great energy,
| | 13:47 | so maybe we want to use
this earlier in the edit.
| | 13:50 | So let's cut it and go back to
right after this first change.
| | 13:54 | (music playing)
| | 14:01 | And let's see about putting it in there.
| | 14:02 | But first, let's open our picture window again.
| | 14:04 | Command+9 or Ctrl+9 so we
can see what we're doing.
| | 14:07 | So let's look at using this new section when
Eli comes through the door on the third door.
| | 14:12 | (music playing)
| | 14:14 | So instead of the synth that comes
in now, we'll hear the new section.
| | 14:17 | I am going to cut this out, snap this there,
and this is a remnant of the old audio.
| | 14:24 | So let's hold Ctrl and drag
this over and listen to the change.
| | 14:28 | (music playing)
Yeah, I like this.
| | 14:32 | (music playing)
| | 14:37 | Let's see if there's a fill going into
it like there was in the other part.
| | 14:40 | (music playing)
Yeah!
| | 14:43 | That's even better. So let's see.
(music playing)
| | 14:47 | By bringing out the beginning of the
fill, we've got a nice little transition as
| | 14:50 | Eli comes through the door.
| | 14:51 | So we're going to use that, but I
can also see here that I need to bring
| | 14:55 | this audio region a little further
left to keep it in sync, because I can
| | 14:59 | see that the waveform doesn't match
up exactly with the end of the region
| | 15:02 | that we're editing this onto.
| | 15:05 | So I am going to select and make a
crossfade and listen to this new edit.
| | 15:09 | (music playing)
| | 15:28 | Cool! So now what we need to do is
just find a good way to end this.
| | 15:31 | So I am going to make a cut just as a
kind of reminder placement of where I am
| | 15:37 | going to be--roughly where that is in
the timeline, because I can see it, and I
| | 15:40 | am going to find another piece of
the song to be used as an ending.
| | 15:44 | When I listened to this song before,
I remember that this break had a nice
| | 15:47 | change of intensity,
| | 15:48 | so it might be a good option to
use for the ending. So let's listen.
| | 15:51 | (music playing)
Yes! This is going to be perfect.
| | 15:56 | So I am going to find this cymbal crash,
essentially the hit where it starts,
| | 16:02 | get into the transient here, make
a cut, select, and cut that region.
| | 16:08 | I am going to go back towards where my
visible marker is, so I can quickly find
| | 16:12 | it, and find the exact same point in this region,
(music playing)
| | 16:16 | which is pretty much right
where the edit I made was.
| | 16:18 | So I am going to go in and find the
actual spot now, cut off the end of the
| | 16:23 | region with S, and paste
what I have in the clipboard.
| | 16:25 | That's going to replace whatever
else was underneath it on the track.
| | 16:30 | Now let's listen to that.
| | 16:31 | (music playing)
| | 16:41 | Cool! So that could work, but it also might
be cool to have this instead come as Eli
| | 16:46 | puts the broom through the door handles.
| | 16:48 | So let's see if I can make that work.
| | 16:50 | (music playing)
| | 16:54 | And we're going to be able to;
| | 16:55 | we just need to edit it more smoothly.
| | 16:57 | So let's find the right part of this
region, cut the head off with A, snap it
| | 17:02 | into place, and clean up the fade.
| | 17:06 | (music playing)
| | 17:12 | Because we have this long kind of
cymbal sound that transitions across that
| | 17:17 | downbeat, I don't want to cut that
off abruptly in the middle of my edit.
| | 17:23 | So what I am going to do is extend
that region into the next region and make
| | 17:27 | my edit on the other side of that sound,
since the music is very similar on both sides.
| | 17:35 | Again, just make sure that I am staying in
phase, put a fade on it, and let's listen.
| | 17:41 | (music playing)
| | 17:51 | Great! Now we're pretty much there.
| | 17:53 | The last thing that we'll do is we'll
just end our cue, and with a cue like
| | 17:56 | this we'll probably going to just make a
big fade-out, and let's listen to how it ends.
| | 17:59 | (music playing)
| | 18:18 | Cool! Now we can adjust that fade and make it perfect.
| | 18:20 | This is actually pretty good for our edit.
| | 18:23 | So to finish this cue, we're going to
need to finish the start of the cue.
| | 18:27 | So in order to do that, we'll need to do
a little bit of mixing, which I will be
| | 18:30 | covering in the next video.
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|
|
5. Presenting the EditMixing the edit| 00:00 | We're really close to finishing this edit,
but we still need to finish the start.
| | 00:04 | In order to do that, I do want to mix
it a little bit, because the mixing will
| | 00:07 | help sell what I'm trying to accomplish.
| | 00:09 | So we're going to open the
Volume graph on the Edit 1 track.
| | 00:12 | You can do this by pressing the minus
key on the keyboard, and you'll see that a
| | 00:17 | black line is now visible over the entire track.
| | 00:21 | Let's make a selection over our edit
and move the cursor above the black line,
| | 00:26 | and you'll see that a
little bracket tool appears.
| | 00:28 | What this means is that you can click
and drag and you'll now be moving and
| | 00:32 | changing the entire Volume
graph for that selection.
| | 00:36 | So let's drop our Volume graph down,
maybe around -6.2 decibels, somewhere in
| | 00:40 | there. And let's listen to how that's
sounds against our production track.
| | 00:44 | (clip playing)
| | 00:50 | It's actually still a little bit loud,
| | 00:51 | so let's grab it again and drop it
a little bit more and listen again.
| | 00:55 | (clip playing)
| | 01:05 | That's a little better.
| | 01:06 | It may be a little loud over the
beginning where the dialog is and a little
| | 01:10 | quiet once the action starts.
| | 01:11 | So let's split the difference, and
let's add an automation breakpoint.
| | 01:16 | Using the Smart tool, you can hold
the Command or Ctrl key and click on the
| | 01:21 | Automation graph. You'll
see that a new point is added.
| | 01:25 | Now if we wanted to delete that later,
you can hold the Option or Alt key and
| | 01:29 | click the point and it will disappear.
| | 01:32 | So let's recreate that point, and
let's grab the point at the beginning.
| | 01:36 | If you use the Smart tool by moving
it close to the point, you'll see that
| | 01:39 | a finger appears on the hand, and you can
click with that and drag to move the point.
| | 01:45 | So let's make a little bit of a fade-in,
but not a complete fade-in so that it
| | 01:48 | doesn't start from 0.
| | 01:50 | Let's listen to that.
| | 01:51 | (clip playing)
| | 01:56 | Now that's much better in
that we can now hear the dialog.
| | 01:59 | But we're actually using
into the track a little late.
| | 02:02 | So let's make a new breakpoint and
raise the volume just a hair, right where the
| | 02:06 | energy should pick up.
| | 02:07 | Now let's close this and finish our edit.
| | 02:10 | We can close the Automation graph the same
way we opened it, by pressing the minus key.
| | 02:14 | I am going to zoom in and pull out
the beginning of our region a little bit
| | 02:18 | further and try putting a fade-in on it.
| | 02:20 | I'm going to open the Volume graph
again and just see if I can massage this
| | 02:25 | fade-in to make it work.
| | 02:27 | Maybe I'll try adding another
breakpoint here and dropping the volume a little
| | 02:31 | bit more at the beginning,
and let's listen to that.
| | 02:34 | (clip playing)
| | 02:40 | And we're definitely going to be able
to make this work by using automation
| | 02:43 | to help sell our edit.
| | 02:45 | So that's really one of the most
important reasons why we're going to use these
| | 02:48 | Volume graphs in an editorial
situation is that we want to make it look and
| | 02:53 | sound as good as possible so that when
anyone else sees it, they believe that it
| | 02:57 | could actually work playing to the scene.
| | 02:59 | We may extend the beginning of this
fade a little bit more, so I'm going to have
| | 03:03 | to close my Volume graph one
more time with the minus key.
| | 03:07 | I'll extend the fade by dragging it
out a little bit more to the left, and I'm
| | 03:11 | going to listen to that again.
| | 03:12 | (clip playing)
| | 03:18 | That's pretty good. I'm just going to drop the
level just a little more so it fades in a little bit more softly.
| | 03:23 | (clip playing)
| | 03:29 | So you'll notice that you can very
clearly hear the dialog now, which is one of
| | 03:32 | the most important goals.
| | 03:33 | We also want to be able to hear through
the scene the sound effects: doors open,
| | 03:40 | doors close, that sort of thing.
(clip playing)
| | 03:47 | Right now, the music is a little bit
loud, but we can still hear enough of the
| | 03:49 | background and we're selling the
fact that this is the action cue.
| | 03:53 | (clip playing)
| | 03:59 | So perhaps what we want to do is
drop the level just a little bit more
| | 04:03 | throughout the scene,
| | 04:05 | since it is a hair loud in spots, and
maybe we will just raise it at the beginning
| | 04:10 | to where we had it so that once Eli
gets into the hallway on the third floor,
| | 04:14 | we're not quite so loud, and once he
finds his way into the morgue, we can come
| | 04:19 | down a little bit more in volume.
| | 04:21 | So we'll make another breakpoint here,
and you can grab the entire piece of the
| | 04:25 | Volume graph with this Trim tool
and drag that down. And then you can
| | 04:29 | Option+Click if you'd like to delete a
breakpoint in between and that gives you
| | 04:34 | a nice little fade.
(clip playing)
| | 04:40 | Perhaps that's a little too much,
| | 04:41 | so maybe we'll move this up a little
bit--split the difference essentially.
| | 04:45 | (clip playing)
| | 05:05 | Great! The rest of that fade-out works really
well, because we can hear the dialog
| | 05:09 | coming through the door, and we really
can tell that we're getting back into the
| | 05:12 | rest of the movie after this cue has ended.
| | 05:15 | So now that we've mixed our music using
the Volume graph so that we can hear the
| | 05:19 | production audio clearly along with our
music, we can move on to the next step,
| | 05:23 | which is going to be creating a QuickTime movie.
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| Bouncing down the edit| 00:00 | Once you get a cue finished and the
edit has been done and you've mixed it
| | 00:04 | against your production audio and
you've gotten everything to the point
| | 00:07 | where you're happy with it and you
want to show it, there is a couple of
| | 00:10 | ways that this can happen.
| | 00:11 | One might be by bringing
the director into the room.
| | 00:14 | The director may watch it over your
shoulder on your speakers. But another
| | 00:17 | way it might be that you're going to
send a QuickTime movie via the Internet, or
| | 00:22 | perhaps you're going to send the
QuickTime movie on a hard drive or on a DVD.
| | 00:26 | The first step would be to get
that QuickTime movie out of Pro Tools.
| | 00:30 | So I am going to show you how to
bounce out the QuickTime movie.
| | 00:33 | The first thing we want to do though
is make a selection, so I am going to use
| | 00:37 | our ELI clip selection that we made
earlier .2., so we can just
| | 00:41 | quickly see the entire video.
| | 00:43 | And this video already starts in about
the clip that we are going to want to use.
| | 00:47 | However, we don't need the slate at the
beginning, so what we'll do is we'll go
| | 00:51 | to our Picture Start marker, .3..
and we'll Shift+Tab to the end
| | 00:55 | of our video file or at least our audio region.
| | 00:58 | I am going to Option+F or Alt+F to
view that, and this will be what we're
| | 01:03 | going to bounce out.
| | 01:04 | And typically when you bounce out your
QuickTime you want to include a little
| | 01:07 | bit of pre-roll, usually the dialog line
before and after your edit, and you want
| | 01:12 | to make sure you're going to mix and all
and all of your presentation are in the
| | 01:15 | right place before you send it out.
| | 01:17 | So now that we've gotten this selection
made, we're going to go to the File menu
| | 01:22 | and we're going to go to
Bounce to > QuickTime Movie.
| | 01:25 | Now if you do a lot of these in a day,
it gets kind of tedious to go to the File
| | 01:29 | menu over and over and over,
| | 01:32 | so you may want to consider getting
some sort of third-party application that
| | 01:35 | allows you to edit and
customize your keyboard shortcuts.
| | 01:39 | I personally use QuicKeys and I find
it very handy because I can assign a
| | 01:43 | QuicKey wherever I need one
in any menu that's missing.
| | 01:46 | And once the Bounce menu is open, you want
to make sure all of the settings are correct.
| | 01:51 | Typically we want Interleaved audio
unless it's already just a Mono track, and
| | 01:56 | for TV and film we typically want to
work at 48 kilohertz, and once that's set,
| | 02:00 | click Bounce. And then you
want to name the QuickTime.
| | 02:04 | Let's call this ELI_Clip1_Bounce.
| | 02:10 | You can name this however you want,
and then select a location to save it.
| | 02:15 | For now let's save it in our Exercise
Files folder. And Pro Tools is going to
| | 02:22 | bounce out a QuickTime movie in real
time. And once Pro Tools is done, you're
| | 02:28 | ready to move on to the next step.
| | 02:29 | You may want to deliver an actual
uncompressed QuickTime, burning it to a DVD
| | 02:33 | that can play in a DVD Player;
| | 02:35 | you may want to burn a QuickTime to a
data DVD that can be read on a computer;
| | 02:39 | or you may want to compress your
QuickTime into a smaller file size so you can
| | 02:42 | upload it and send it to
someone over the Internet.
| | 02:45 | That's what we're going to look at next.
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| Compressing the QuickTime files| 00:00 | If you do want to send your QuickTime
file over the Internet, you're probably
| | 00:03 | going to want to compress the
file to make it a smaller file size.
| | 00:07 | So there are several ways we can do this,
| | 00:09 | one of which is from Pro Tools itself.
| | 00:11 | So if you want to bounce out a QuickTime
file that's already compressed from Pro
| | 00:14 | Tools you can hold a quick key
Ctrl+Option+Command or Ctrl+Alt+Start.
| | 00:21 | While holding it, click on the File menu,
select Bounce to > QuickTime Movie, and
| | 00:28 | a little pop-up window appears
that allows you to edit the options.
| | 00:31 | So you can experiment with the
settings on your own, but typically H.264 is a
| | 00:36 | good small file size,
but a decent-looking setting.
| | 00:40 | So we can use that for the video.
| | 00:42 | If you want to make the file size even
smaller, you can edit the size and perhaps
| | 00:47 | choose a smaller file size.
| | 00:48 | 320x240 is a small size, and it will
allow you have a very small file size, but
| | 00:53 | it's also hard to see because
it's such a small QuickTime window.
| | 00:57 | The last thing you can do if you want
to make the file even smaller is you can
| | 01:01 | change your Sound Settings. And instead
of using uncompressed audio, you can use
| | 01:06 | any of the compressed audio options,
perhaps MPEG-4 Audio, and that will shrink
| | 01:11 | the file size even further.
| | 01:12 | So get these set however you want.
| | 01:14 | I am going to leave them at default for now.
| | 01:17 | Once you get everything set and you're
ready to bounce, you can click the Bounce
| | 01:20 | button and Pro Tools will again
bounce your QuickTime movie in real time.
| | 01:24 | But this time when it's done, it's going to
compress the QuickTime before it saves the file.
| | 01:28 | We're not going to actually
bounce the movie right now.
| | 01:31 | We're going to instead look at a
couple of other options for compressing.
| | 01:33 | So go ahead and click Cancel, and
then I want you to find the file that you
| | 01:38 | bounced out in the previous video.
| | 01:40 | Once you find it, open it up.
| | 01:42 | If you're in QuickTime 7, at least QuickTime
Player Pro, you have a bunch of Export options.
| | 01:48 | So under the File menu, you can choose
Export, or you can choose the option
| | 01:52 | with a key command. And again you have a
variety of settings to choose to export your video.
| | 01:58 | Typically, I'll use Movie to
QuickTime Movie, but you could go directly to
| | 02:02 | MPEG-4 to iPhone or any of their presets.
| | 02:05 | If you do go directly to a QuickTime
movie, you have options, and again you can
| | 02:09 | change the Settings just like
we were looking at in Pro Tools.
| | 02:13 | Once you're happy with your
compression settings, just name the file and save
| | 02:16 | it where you want to save it, and now you've got
a compressed QuickTime file that you can send.
| | 02:21 | If you don't have QuickTime Player 7
but instead have the newer QuickTime 10,
| | 02:26 | you can open it with QuickTime 10 and
under the File menu you can Save for Web.
| | 02:31 | Under the Save for Web
option, you have a bunch of options.
| | 02:35 | You can choose iPhone,
iPhone (Cellular), or Computer, which are all various
| | 02:39 | levels of compression.
| | 02:40 | Now note you do have less control over
what type of compression settings you
| | 02:44 | choose here, but you will still get a
smaller file size that will allow you to
| | 02:47 | send it more quickly over the Internet.
| | 02:49 | A third way that you can compress
your QuickTime files is using a batch
| | 02:53 | compressor, perhaps Apple's
Compressor or one of the many other options
| | 02:57 | available, and another really great advantage
of these is that you can do a batch all at once.
| | 03:02 | So if, for example, you have bounced
out twenty QuickTime files and you want to
| | 03:06 | compress them all at once, you can do
it in one click of a button rather than
| | 03:09 | compressing each one individually.
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|
6. Conforming the EditConforming the edit to picture if the scene has shifted| 00:00 | When you're working on a project in TV
or film, or in any other media, it's very
| | 00:04 | possible that the picture will change
after you've already created several edits
| | 00:09 | and when that happens, you'll need to
alter your music to match the new picture,
| | 00:13 | and this is called conforming.
| | 00:15 | So what we're going to look at now are a
couple of ways that conforms can affect you.
| | 00:20 | The first type of conform is a simple one.
| | 00:23 | Perhaps the picture change was
before or after your music cue.
| | 00:26 | If it was before your cue and more
footage was added, your music cue would need
| | 00:30 | to be moved later to match up to the
picture that it was originally cut to.
| | 00:34 | If footage was deleted, that scene
would then be moved earlier and your music
| | 00:39 | would need to be moved earlier in order
to play properly over the scene again.
| | 00:43 | What we're going to do now is look at
an example of a scene that has been
| | 00:46 | shifted later so that we need to conform
our music edit to play in the proper place.
| | 00:51 | Let's zoom out all the way.
Option+A or Alt+A. view our session.
| | 00:55 | First, make a new bin track to save our edit.
| | 00:57 | We're going to close the video window
with Command+9 or Ctrl+9 using the 9
| | 01:03 | from the numeric keypad.
| | 01:04 | I am going to create a new track,
Shift+Command+N or Shift+Ctrl+N, and using
| | 01:09 | Command+Right Arrow or Ctrl+Right Arrow, we
are going to choose Stereo and click Create.
| | 01:14 | Now we get our Audio 1 track here.
| | 01:17 | Let's move this to the bottom,
rename it BIN 4, and deactivate the track.
| | 01:23 | Now let's go back to the last edit we
made, turn off our Volume graph with the
| | 01:29 | minus key, select the edit, and Ctrl+
Click and drag down onto our a new bin.
| | 01:36 | If you want to be consistent, you can
Ctrl+Down Arrow to shrink the track to
| | 01:40 | match the height of all the others.
| | 01:42 | Now what we want to do is import the
new video file, and this new video file is
| | 01:46 | an example of what you might see in a conform.
| | 01:48 | So go to File > Import > Video and
select Clip 2 from your Video Files folder.
| | 01:58 | If you're asked to remove the
previous movie from the session, click OK.
| | 02:02 | You can choose Session Start if you want,
and also make sure you Import Audio from File.
| | 02:07 | Click OK and choose wherever
you want to save the guide tracks.
| | 02:11 | I am going to choose the Guide Tracks
folder again and save those, and we now
| | 02:16 | have a new video file in our
session with a new audio track.
| | 02:20 | So let's spot this like we did before:
| | 02:22 | F3 and click the file.
| | 02:24 | We can type in the first frame of the
picture, which is exactly the same as it was in
| | 02:28 | the other video file.
| | 02:31 | We'll spot the picture there, and we can
also spot the audio to the same place.
| | 02:37 | We'll go back into Grid mode.
| | 02:40 | If you want, you can lock the picture file.
| | 02:42 | If you want to change the view
settings like we did before, you can do that.
| | 02:45 | Ctrl+Command+Left Arrow or Ctrl+Start+
Left Arrow and Ctrl+Down.
| | 02:51 | Now let's make sure we mute the audio
from the old clip so we only hear the
| | 02:55 | audio from the new clip playing.
| | 02:57 | Just by looking at the two tracks, you
can tell in the new picture file the sound
| | 03:02 | and picture appear to be later.
| | 03:04 | So let's just take a quick look by
scrolling across the track. And you can see,
| | 03:08 | where our Picture Start marker
was, the picture no longer starts.
| | 03:12 | The picture now starts much later.
| | 03:15 | In fact, in this case it looks like it
starts about five seconds later. And we
| | 03:20 | can check that by just zooming
in and nudging back and forwards.
| | 03:23 | So we can see now that the first frame of
picture is five seconds after where it used to be.
| | 03:28 | So, in this example we're imagining
that five seconds has been inserted in the
| | 03:32 | picture before this scene.
| | 03:34 | So what we need to do is move our
music that we already edited five seconds
| | 03:39 | later to now match with the new picture file.
| | 03:42 | There are several ways that you can
move your music or any audio later within
| | 03:45 | a Pro Tools session.
| | 03:47 | One is just simply select, grab, and move,
but that's really slow and very inaccurate,
| | 03:52 | so we're not going to do that.
| | 03:54 | My favorite way to do this is using the
Shift key command in Pro Tools, which is
| | 03:58 | Option+H or Alt+H, and this
brings up the Shift window.
| | 04:02 | You can choose to shift cues earlier or later.
| | 04:05 | In this case we would want to move them later.
| | 04:07 | You can choose to shift cues by
amounts of Bars & Beats, Minutes & Seconds,
| | 04:11 | SMPTE timecode, Feet and Frames, or Samples.
| | 04:15 | So in our case we want to move it
five seconds later, which appears to
| | 04:18 | already have been entered.
| | 04:19 | So we can type in our exact amount if
we want and just like the other timecode
| | 04:24 | entry fields in Pro Tools, whatever numbers
you type in will cycle from right to left.
| | 04:29 | So if you make a mistake, you can just
continue typing from the start again.
| | 04:32 | So now that we've entered our desired
offset, you can click OK and the cue
| | 04:38 | has been shifted later.
| | 04:39 | So if we want to move batches of
several at a time, we can just select three at
| | 04:44 | a time--Option+H.
| | 04:46 | It retains the last
selection, and we can shift them all.
| | 04:50 | In order to check and make sure this
looks right, we can grab one of these.
| | 04:53 | Ctrl+Option+Click and drag a copy of
it up onto our main edit track, and let's
| | 05:00 | watch it and make sure it
looks like it's in the right sync.
| | 05:03 | (clip playing)
(Male speaker: Man down, seventh floor.)
[00:05:5.00]
(music playing)
(Male speaker: Subject is now armed.)
| | 05:03 | And we know it's in the right sync
because it's already hitting the right
| | 05:12 | cut, and we already know, in our imagination,
that there have been no changes within this cue.
| | 05:18 | So using this Shift feature in Pro
Tools is the simplest way to conform a
| | 05:22 | cue when you simply need to shift it
earlier or later to adjust to changes
| | 05:26 | in picture.
| | Collapse this transcript |
| Conforming the edit if a shot's length changes within the scene| 00:00 | Another type of conform that we're
going to look at is the type that can
| | 00:03 | occur within a queue.
| | 00:05 | So perhaps the movie is the same
before your queue, but during your queue the
| | 00:09 | shot has been shortened.
| | 00:11 | What that means is that the end of your
music queue, everything after that shot
| | 00:15 | that has been shortened is no longer
going to play in sync that way you
| | 00:18 | initially intended it to.
| | 00:21 | So what we're going to need to do in a
case like that is re-edit the music to
| | 00:25 | work with the new picture.
| | 00:27 | So first, let's import our new picture file--
| | 00:30 | File > Import > Video--and
we're going to select ELI_Clip 3.
| | 00:35 | You can click OK to remove the
previous movie from the session, and click OK
| | 00:42 | again and choose where you want to save
the guide tracks that you're importing
| | 00:45 | from the picture file.
| | 00:46 | Now let's zoom all the way out again
with Option+A or Alt+A. And before we move
| | 00:53 | on, let's mute the old audio from the
old clip since we don't need to hear that,
| | 00:58 | and now let's spot the new picture into place.
| | 01:01 | So let's go into Spot mode with F3,
click, and enter the time code for the start
| | 01:06 | of the video. And this time let's sync
our audio to the video without using spot.
| | 01:13 | We've done this once before, but again,
another way to do it is to use our
| | 01:16 | snapping technique by Ctrl+Clicking
the audio file, which will snap it to the
| | 01:20 | start of our selected picture file.
| | 01:22 | We're going to lock both of these.
| | 01:24 | So I'm going to reselect the audio
file we had selected last, and I'm going
| | 01:32 | to zoom in real quick.
| | 01:34 | And if you want, you can make the
picture look like it did before, Ctrl+Command,
| | 01:38 | or Ctrl+Start+Left Arrow to hide the
thumbnails, and Ctrl+Down Arrow to shrink
| | 01:44 | the size of the video track.
| | 01:46 | We can see that at the beginning of the
video the audio on the new guide track
| | 01:50 | from Clip 3 and the audio on the old
guide track from Clip 1 are in sync up
| | 01:55 | until at certain point, but then we
can see that they're no longer in sync,
| | 01:58 | because their waveforms no longer match.
| | 02:01 | So let's take a quick
look and see what's changed.
| | 02:04 | First I am going to mute the music,
so we can just hear the audio only.
| | 02:08 | (clip playing)
| | 02:20 | In this particular case, our conform
has happened right here. We're going to
| | 02:24 | scrub the video track by moving our
cursor along the audio track until we find
| | 02:28 | the very first frame where the
edit happened, which is right here.
| | 02:32 | This shot of Eli running in the door is
now shorter than it was, because in the
| | 02:37 | original version the camera zoomed in to
the nurse standing in the hallway, and
| | 02:41 | now it cuts directly to
Eli as he runs down the hall.
| | 02:45 | What that means is we need to make our
music now match the shorter version of the picture.
| | 02:50 | Let's look at our music.
| | 02:52 | The end, which we had synced up to Eli
putting the broom through the door, will
| | 02:56 | probably no longer sync like that.
| | 02:58 | So let's see where it plays now.
| | 03:00 | (music playing)
| | 03:08 | And as we expected, that place in the
music now plays later than the place in the
| | 03:12 | timeline where Eli puts
the broom through the door.
| | 03:16 | So what we need to do is conform the
music somewhere near where the picture
| | 03:19 | change was made, so that all of the
music afterwards plays roughly as intended.
| | 03:25 | Right around this break might
be a good place for us to look.
| | 03:27 | What we can do is start by shortening
the break and see if we can make a musical
| | 03:32 | edit in here that will allow us to
keep our sync at the end of the queue.
| | 03:37 | So I'm going to cut right on the
transient, halfway through the break.
| | 03:40 | I'm going to select the rest of my
edit and cut it, and we'll try shortening
| | 03:46 | the break by a bar.
| | 03:47 | (music playing)
| | 03:51 | We'd be pasting the rest of the queue
starting on this downbeat, but we want to
| | 03:56 | make sure it lines up here.
| | 03:59 | So let's have a listen to this.
| | 04:00 | (music playing)
| | 04:34 | So now we can see this displays much
more closely to how it was initially
| | 04:37 | intended to the original version of the
picture, but we need to clean up our edit still.
| | 04:42 | So let's take a look at that again.
| | 04:44 | (music playing)
| | 04:48 | And this actually works pretty well,
but there were some cool effects that we
| | 04:51 | had in the middle of this break.
| | 04:53 | So let's say if we can get
some of those back in there.
| | 04:55 | (music playing)
| | 05:05 | Let's make sure we get
everything in there very cleanly.
| | 05:07 | It looks like this is
slightly different, timing-wise.
| | 05:09 | We're going to need to make sure that
we get this edit in the right place.
| | 05:15 | So again, a quick way to move everything
is to select from the cursor to the end
| | 05:19 | by Shift+Clicking after and cut Option+
Tab and paste. Or another technique would
| | 05:26 | be to use a region group, which is
Command+Option+G or Ctrl+Alt+G, and then you
| | 05:32 | can literally move the entire region
group all at once and un-group it later with
| | 05:36 | Command+Option+U, or Ctrl+Alt+U.
So once we've copied the end of the edit
| | 05:42 | earlier, we can place our cursor where
we want to paste it, cut the tail off of
| | 05:48 | that region with the S
key, and paste it into place.
| | 05:52 | And now we can take a listen to this
edit and make sure it plays properly.
| | 05:56 | (music playing)
| | 05:59 | And so we are doing a bit of a stutter,
but in the electronic genre that
| | 06:02 | actually works pretty well.
| | 06:04 | If we wanted to smooth this out, we
could perhaps do a longer crossfade
| | 06:07 | across here with the F key and have a slightly
smoother transition between the two sounds.
| | 06:12 | (music playing)
| | 06:16 | It sounds a little bit like a filter
sweep. Or we could just do a very quick and
| | 06:20 | abrupt edit, either of which I
think worked perfectly fine for this.
| | 06:29 | So now that we've conformed one of
our queues, the next thing would be to
| | 06:32 | conform any other versions of those
queues or any other queues that we had cut
| | 06:37 | to the same picture.
| | 06:38 | Feel free to do that on your own if
you'd like, but we're not going to do
| | 06:41 | that in this video.
| | 06:43 | But if you can't get it to look exactly
like it did, just trust your instincts
| | 06:47 | and try and sync up the main points, or
find new sync points that make it look
| | 06:50 | good in a different way.
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7. Performing Special EditsRemoving profanities by reversing audio| 00:00 | Now let's imagine for a minute that
this piece of music has a profanity in it.
| | 00:04 | Depending on the project you're working
on, that may or may not be an issue, but
| | 00:08 | let's say, for example, that it is.
| | 00:10 | One of the other things we can do is
reverse that profanity to remove it.
| | 00:15 | Let's listen to the section of this song.
| | 00:16 | (music playing)
| | 00:20 | And now let's imagine that this small
section right here is a profanity that
| | 00:25 | we need to reverse so that when it's played
on the live television that's not an issue.
| | 00:30 | What we can do, go to the AudioSuite menu,
under Other, we can select the Reverse
| | 00:36 | plug-in, and once we have our selection,
we can simply process it. But first let
| | 00:41 | me point out a couple of things.
| | 00:44 | We need to make sure that our selection
contains the very beginning of the word
| | 00:48 | that we're trying to reverse. And
second, we should give ourselves a little
| | 00:51 | extra buffer so that we
can do a crossfade later.
| | 00:54 | So now let's move to the end of our
selection with the W key command, and let's
| | 00:59 | again give ourselves a little bit of a
buffer on the selection so that we can
| | 01:02 | do a crossfade later.
| | 01:04 | Using Option+F or Alt+F, I'm going to
zoom to my selection and I'm going to click
| | 01:08 | the Process button in the AudioSuite plug-in.
| | 01:10 | Now you can see that a reversed piece of
music has been placed over my selection
| | 01:18 | and we can cross-fade the beginning
and the end to somewhat clean up the
| | 01:24 | transition in and out of
our reversed piece of music.
| | 01:28 | If the piece of music that we've
reversed contained profanity, by reversing it
| | 01:32 | we've made it harder to hear that
profanity because you're not going to hear
| | 01:35 | it played backwards.
| | 01:36 | And this is really the standard for
removing profanities when you either don't
| | 01:40 | have a clean mix, which is a mix of the
song that doesn't contain the profanity
| | 01:45 | at all, or a different word in place of
the profanity or when you don't have an
| | 01:49 | instrumental to remove the profanity,
which is what we're going to look at in the
| | 01:53 | next video. But first let's just
listen to what it might sound like.
| | 01:57 | (music playing)
| | 02:01 | It's not great, but it keeps the beat
going, and you can tell that whatever was
| | 02:05 | there sounds different than it did before.
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| Removing profanities with instrumentals| 00:00 | Now if you have a profanity in the song
and you happen to have an instrumental
| | 00:03 | of that same song, it's a much better
way to replace that section with the
| | 00:08 | profanity with a piece from the exact
same location in the instrumental than it
| | 00:13 | is to try and reverse it.
| | 00:14 | The reason is because you can get a much
cleaner and more musical-sounding result.
| | 00:19 | In other words, you don't have to
reverse the music as well as the profanity to
| | 00:23 | make the profanity unintelligible.
| | 00:25 | So we're going to use the exact same
song that we used in the previous example,
| | 00:30 | and the exact same part of the song
will pretend to be our profanity, and the
| | 00:34 | track that's on Edit 2
we'll pretend is our instrumental.
| | 00:38 | So let's listen to and find our profanity again.
| | 00:40 | (clip playing)
| | 00:44 | Okay there it is, so we're pretending
that this musical phrase is our profanity.
| | 00:50 | What we could do to replace it with
the piece from the instrumental track is
| | 00:54 | first make sure that both the original
song with the vocal and the instrumental
| | 00:59 | of the song are perfectly phase aligned.
| | 01:03 | Zoom in really, really close so
that you can see the sample level.
| | 01:07 | And here you can see that these are
aligned, and the way that I can tell they're
| | 01:09 | aligned is because this peak
lines are perfectly with this peak.
| | 01:15 | A second way, and a more important way,
that you can tell that are aligned is
| | 01:18 | by listening to them.
| | 01:19 | If you hear phasing, you know that
they're not going to be aligned. And let me
| | 01:23 | give you a quick example of
what phasing would sound like.
| | 01:26 | So if we would have shift this track
just to hair later so that it's visibly
| | 01:30 | out of sync, and be even little more,
and if we were to play the two together--
| | 01:34 | (clip playing)
| | 01:37 | --there is a strange,
out-of-phase sound between the two tracks.
| | 01:41 | If we shift them back into place--I'm
going to press Undo twice--and we listen
| | 01:45 | (music playing)
again, now it just sounds louder.
| | 01:49 | We want to make sure that our selection is
perfectly in phase before we do this technique.
| | 01:55 | Let's zoom back out. Find our profanity again.
(clip playing)
| | 02:00 | Okay, so right here is our pretend
profanity, so what we would do is literally
| | 02:05 | make the selection that we want to
replace on our vocal track. Using the
| | 02:09 | semicolon key we can move down to our
instrumental track, copy the piece we want
| | 02:14 | to replace, use the P key
to move back up, and paste it.
| | 02:18 | Just like any other edit, we can
clean it up, put our crossfades on it.
| | 02:26 | Let's listen to that.
| | 02:28 | Obviously, it's a fake
scenario, but you'll get the idea.
| | 02:30 | (clip playing)
| | 02:34 | And we've now removed the profanity.
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| Keeping a song in sequence| 00:00 | If you've licensed a piece of music
that you're going to use in a film,
| | 00:03 | television show, video game or any
other media project, you generally have
| | 00:08 | certain editing rights that
are granted with the license.
| | 00:12 | For example, you're allowed to cut the
song as long as you keep it in sequence.
| | 00:16 | However, when you're
cutting a song out of sequence
| | 00:19 | that's an example of the time that
you'll need to get edit rights in order
| | 00:22 | to perform that edit.
| | 00:24 | What are our edit rights?
| | 00:26 | Edit rights basically grant you the
right to make certain special edits that
| | 00:29 | might alter the character
of the original composition.
| | 00:32 | So, for example, taking the beginning
of the song and placing it after the end
| | 00:37 | of the song, moving sections of the
song out of their original sequence, would
| | 00:41 | require edit rights.
| | 00:42 | So let's take a look at
what this means visually.
| | 00:45 | If I'm to make an edit here, and that's
the intro to my song, and this becomes
| | 00:50 | the middle of my edit, and then
maybe this becomes the end of my edit,
| | 00:55 | that's all in sequence, because the
first piece, the second piece, and the third
| | 00:59 | piece are all in the same order in
which they were in the original composition.
| | 01:04 | If I were instead to take this section
from near the end of the track and use it
| | 01:09 | in the middle of my edit, it's no
longer in the same order that it was in the
| | 01:13 | original composition. So in that case,
I would need to get edit rights before I
| | 01:17 | can perform that edit.
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| Layering audio| 00:00 | Another type of editing that may
require edit rights is when you layer
| | 00:03 | audio, but it depends on how you layer audio.
| | 00:07 | So, for example, if you were to take
a section from later in this song--
| | 00:10 | (music playing)
| | 00:13 | --and play the beginning of that
underneath a section from earlier in the song
| | 00:18 | so that it remains in the sequence,
| | 00:21 | that can work as long as you're doing
it as an overlap, rather than a simple
| | 00:27 | doubling up of two different parts of the song.
| | 00:29 | So, for example, in a case like this,
the outgoing section of the song comes
| | 00:34 | from an earlier section of the
composition than the incoming piece of the edit.
| | 00:38 | In that case, it's really more like a
crossfade, even though you may play them
| | 00:43 | both at full volume.
| | 00:44 | However, where it may become an issue
and may become something that requires
| | 00:48 | edit rights is if you were to take the
same piece and play it under the other
| | 00:52 | section for the entire duration
and then end them at the same place.
| | 00:57 | In a case like this, let's say we
liked the beat in this selected region,
| | 01:00 | and we really wanted to supplement
whatever was on our other track, so we built
| | 01:05 | an edit that layered both parts
of the track in the same place.
| | 01:10 | In a case like this you
might need special edit rights.
| | 01:12 | However, that can be a very effective
technique to get a certain sound and
| | 01:17 | it's a very valid technique, so if it gets
what you need, it's sometimes worth doing that.
| | 01:22 | Also, there are times where you may
not need to worry about edit rights.
| | 01:25 | For example, if you're cutting the temp
track for a film or television show, you
| | 01:29 | don't have to worry about clearing
the audio and getting rights, because no
| | 01:32 | one's ever going to hear it;
| | 01:33 | it's really just used as an example internally.
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| Time stretching| 00:00 | If you are cutting temp music, you
may often want to time-stretch or time-
| | 00:04 | compress a piece of music to make it meet
the needs of your cue a little better.
| | 00:08 | Sometimes a music may just be the
perfect tone, but maybe just a hair too fast
| | 00:12 | or a hair too slow to score the scene.
| | 00:16 | In this example, you don't need
special edit rights because with a temp
| | 00:19 | track you are really just creating
reference audio that will be used internally
| | 00:23 | within the production to convey the type
of music that you will be replacing with a
| | 00:27 | new score or new licensed
music later on in the process.
| | 00:31 | One example of a time where you will
need edit rights to compress or expand a
| | 00:34 | track is in perhaps a dance or a club scene.
| | 00:37 | Now imagine you have people
dancing onscreen to a specific tempo.
| | 00:42 | Perhaps the song used when the scene was
shot was exactly at 121 beats per minute.
| | 00:47 | If the song you're cutting with is at
119 beats per minute, it's going to be
| | 00:51 | just a hair too slow and it won't stay in
sync with the dancing throughout the scene.
| | 00:56 | So in a case like this, you could very
accurately time-compress the song to make
| | 01:00 | it play at 121 beats per minute,
instead of 119 beats per minute.
| | 01:05 | And again, in a case like this, you
will need edit rights since you're altering
| | 01:09 | the original intent of the composition.
| | 01:12 | Now let's look at a couple of ways in
Pro Tools to time-compress or expand.
| | 01:16 | The first way is using the Time
Compression and Expansion, or TCE, trim tool.
| | 01:22 | You can access this by pressing the
F6 key repeatedly until you see a small
| | 01:26 | clock icon over the Trim tool, or
by pressing Command+2 or Ctrl+2.
| | 01:31 | And once you have the TCE trimmer
selected, you can either click near the
| | 01:35 | beginning or the end of a file and
simply click and drag shorter or longer to
| | 01:40 | compress or expand the file.
| | 01:42 | And when you release, a new file will be
created that compresses or expands the file.
| | 01:47 | Now another thing to note: you can
also use the TCE trim tool within the Smart
| | 01:52 | tool, which is a very handy function.
| | 01:55 | Let's undo that and look at another
way that we can compress or expand with a
| | 01:59 | little more accuracy.
| | 02:00 | Let's go up to the AudioSuite menu, under
the Pitch Shift submenu, and choose Time Shift.
| | 02:07 | You may have other third-party plug-
ins that allow time compression or
| | 02:10 | expansion, but for now we are
going to use Time Shift in Pro Tools.
| | 02:14 | So using our example before, we can
enter our start tempo of 119 beats per
| | 02:19 | minute and press Return to set it, and
enter our desired end tempo of 121 beats
| | 02:25 | per minute, and again, press Return to
set it. And when you press the Process
| | 02:30 | button, a new file will be created that
changes the tempo of this song from its
| | 02:36 | original tempo to the new tempo.
| | 02:39 | Using the Time Shift plug-in you also
have more custom controls to refine your
| | 02:44 | compression or expansion.
| | 02:46 | You can change the speed, you can
change your end or length times, and you can
| | 02:51 | even pitch-shift, or
transpose, the key of the song.
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ConclusionGoodbye| 00:00 | I really enjoyed the making of this course.
| | 00:02 | I hope you have enjoyed watching it as
much as I enjoyed making it. And I hope
| | 00:06 | you've found the information and techniques useful.
| | 00:08 | If you think you might like to get more
involved in music editing, a great place
| | 00:12 | to start is by getting involved with as
many projects as you can, and remember
| | 00:16 | to always follow your musical
intuition and have fun along the way.
| | 00:20 | If you would like to learn more about
Pro Tools, check out Pro Tools 9 Essential
| | 00:24 | Training with David Franz on lynda.com.
| | 00:27 | I'd like to give special thanks to the
film makers of Eli and to Simon Hunter
| | 00:30 | for the exceptional elements
we use throughout this course.
| | 00:33 | Thank you for taking the time to
watch Music Editing for TV and Film in
| | 00:37 | Pro Tools.
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