Transforming Logic from a scoring environment to and audio post environment
- [Instructor] I'm going to walk you through the process of building a template, and I'll explain why. So I'm going to start by selecting New from the File menu and I'm going to choose an audio track. Just one track. We need some kind of track to get Logic started, and I'll create this. And I'm going to intentionally make this mistake so I can show you why. Right now Audio 1 is called Audio 1. They're matched, and if I import the AAF that I need to work with, which is this...
Almost there... Ah, so that's one thing we're going to fix later. So I'm going to change the project to 48K to match the audio files that I was given. It's converting them, and there we are. So the problem now is that Audio 1, this track that's called 1 in A1, is actually Audio 2 and we're off by one track because of that audio track that we created initially, which we don't need anymore and we can throw away.
Just light the track and delete it. Well the way to avoid that is, let's say New and Close and Don't Save. And when it's time to choose your initial track, choose Software Instrument. We don't need anything from the list, we don't need the library open, we just want an empty channel strip that we're going to throw away later. So we'll create that, and now I can import the AAF.
There's the same problem with the sample right there, we're fixing that. And my Audio 1 is called Audio 1, my two is two, and so forth. So that fixes that problem, by choosing an instrument or really anything else, a bus or a drummer but instrument is probably the easiest one to choose. So I could, I'll delete that instrument track that I don't need.
I could just start mixing right now, import the movie, sync it up, start mixing. But you can see that Logic is configured for bars and beats and it has a count-off, and it has the key signature and a lot of things that I don't want for audio post. And my tracks are flat. If I choose a track, there's no plug-ins on it at all. Now I do have the option of selecting a channel strip, assuming I had one in here. We'll have some later on.
And I could apply that, but Logic is still set up as a scoring app, with a count-off and a metronome. So let's customize Logic for our audio post work. Then we'll save a template that we can open and modify for each mix project that we do. And then we'll use that template to mix this project that Mike sent us from Final Cut Pro. So, I'm going to... Close this project, Don't Save, and this part you can do with me.
I'm going to say New... And I'm going to do that software instrument, and there's our workspace. Now if you're transitioning from Pro Tools, you'll be surprised to know that Logic will open your project and let you work with it as, "Untitled" before you name it and save it. Pro Tools of course won't let you do that, you have to name it and save it before you see a workspace.
It's not a requirement but we should still name it and save it, so Command S and I'll call this... Customizing, and I'll put it on the desktop, that's Command D. So Logic has this cool feature called Organize My Project As and the choices are Package and Folder. And a Package will wrap up everything selected below.
So any audio files, which could be things you imported or things you recorded, any samples that you used, impulse responses, movie files, it grabs all of that and saves it as one big project file. It's very handy for archiving. Everything's in one place, you open it and you get everything that you saved. But if you think that there's a chance you'll need some of that audio for another project, maybe a sound effect, it's more convenient to organize them in the Folder structure.
So let's save this and we'll take a look at that. So I'm going to hide Logic, jump to the Desktop, there's my Customizing with the traditional Folder layout. As the project gets more complicated, there'll be new folders for movies, samples, impulse responses, anything else Logic needs to save as the project evolves. I like the Package format, and I use it a lot, especially for archiving.
But I find that for mix work, the Folder format is more flexible and that's especially true if you're doing repeat work for a client and you want to modify something you used before or maybe you want to straight lift without the modification. Alright, jumping back to Logic. You may know about key commands already, but I'm going to cover that for the people who may be new to Logic. So in the Logic Pro X menu, we have Key Commands.
So let me select that. Option K will get you there. And up pops a page that allows us to set the keystroke for anything that Logic does, well at least anything that's in these menus. So if you're transitioning from Pro Tools, and you want your zoom tool to be Command Bracket, go to Presets and choose Pro Tools.
And all the commands you've learned in Pro Tools now apply in Logic. If someone's used your system and set all the commands to Pro Tools, and you want to get back to the default Logic keystrokes, at the bottom of that options menu is Initialize All Key Commands and that will take you back to where Logic started. So we'll explore this in detail as we go along, but I think this is one of the reasons that people like Logic. It's very customizable for individual workflows.
Well we have more customizing to do, and we'll do that in the next movie.
Award-winning sound designer Joe Godfrey has developed a system for handing off the dialog, music, and effects mix from a Final Cut Pro timeline to Logic Pro. Why Logic? Many of the tools the Final Cut editor is using began there, and Logic has great tools that can be applied to dialog, music, and effects, as well the final mix. There are some things you want to do—in the right order—and some common mistakes you want to avoid. This course covers them all. Learn how to import audio from Final Cut Pro X in Logic Pro X, fix any syncing issues, edit dialog to perfection, add special effects such as pitch shifting and automated EQ, enhance music, and bounce out the final mix, either as a composite track or stems that can be mastered separately.
- Importing AAF, OMF, and XML files
- Configuring your workspace
- Recognizing and solving sync issues
- Adding markers
- Mixing on the fly vs at the end
- Fixing dialog levels
- Fixing dialog texture and ambience
- Automating EQ parameters
- Autopunch for dialog and Foley
- Special effects (SFX) replacement and enhancement
- Finishing the mix: compression and limiting
- Export options: Composite vs. stems
- Archiving a project