Precise editing and muting of dialog clips to remove unwanted noise
- [Instructor] In the last movie we muted a lot of extraneous clips that were really not contributing anything to our mix. Now let's go back and find some things that we need to fix that we uncovered in that process. So one thing I noticed is I think that there's a bleedline here. - Yoh-ne. - [Instructor] so right before her "yoh-ne", I hear him talking a little bit, let's clean that up.
Let me zoom in here so we can see her waveform. That's pretty close but maybe a little tight. And that should be enough, let's use that same command T control M method here, and listen in context. (woman speaking in foreign language) - [Man In Clip] Is there anything you think you should- Okay. Now there's still a pretty hard in when he comes back in. So let's try a fade.
So with that clip selected, let's go over to the inspector for that clip, and put a fade in. So, you can click in the field here and just type a number. That's a second and a half, so that's clearly too long. I would look at the waveforms and look at the white line and see how they're interacting. My favorite way to do this is to just get your cursor in here and scrub your finger until you get to about where the dialogue starts.
And you do have the shape of a curve here if you so wish. You can make it kind of more parabolic or less. So, the precise number here, I don't think is as important as what it sounds like. Let's take a listen. (woman speaking in foreign language) - [Man In Clip] Is there anything you think you should say? - [Instructor] So that's a lot easier on the ear. Let's do one here as well.
Now you could, depending on how you did your edit, you could select all the clips, and then just apply a common fade on all of them. That's not my recommended method, but we can probably use some fade out stuff on some of these clips, that will just sort of be easier on the ear. Now, let's see, we had a lip smack that we needed to fix for him.
I believe it's right there. Let's listen. (woman speaking in foreign language) - [Man In Clip] Do you wish to make any final- - [Instructor] Okay, so, let's take it out completely and see if we like it. So I'm just going to zoom in here. And command T and, then we'll light up this little sliver. Not that one, but this one in the middle. And control M it and see what it's like.
(woman speaking in foreign language) - [Man In Clip] Do you wish to make any final- - [Instructor] Now we actually hear a little bit of lip smack in her line, I think. Rather than completely muting it, let's control M it to unmute it, and then just knock the gain down a bunch. (characters speaking over each other) So, it's in character, except it's just not as loud now. Let's see what it's like. (characters speaking over each other) Okay, maybe split the difference into this neighborhood.
(characters speaking over each other) okay, and I think that's livable. There's one back here that did not appear to be livable. Where is it? It was coming out of her line. (woman speaking in foreign language) Ah, here it is. So, that's just a nasty, - [Woman In Clip] I am not an evil- - [Instructor] I guess that's a lip smack. I dunno, that one doesn't feel like it belongs at all, so let's just, command T, and mute that one.
And listen in context and see if we miss it. (woman speaking in foreign language) - [Woman In Clip] I am not an evil person. - [Instructor] Okay, and we don't need, I believe, these tracks. We probably should have grabbed them in the last, in the last pass when we were muting tracks. And one more time. (woman speaking in foreign language) - [Woman In Clip] I am not an evil person. (woman speaking in foreign language) - [Instructor] Okay, so this is coming together nicely.
We've cleaned up a lot of the ambient noise in the tracks, just from open mics that weren't helping us. And now we've gotten rid of, I think, all the nasty stuff in each track. There is something I should do here. We have, our criminal's lines, and I notice that this, (woman screaming, crying) is not really a dialogue line, it's her being attacked.
So I think we should separate that, and that, and that, and this from the dialogue lines. Now I'm not sure why this one wound up here, but let's put it up here with the dialogue lines. Now notice that I can move it in SMPTE time and over on the right there it'll tell me that. Let's use my method, let me command Z that, oops. Did I command Z something I didn't want to command Z? Hmm.
No, I think we're still good. Let's use that system of selecting a track, selecting a clip, shift, control, T, into the appropriate track. And because this has a fade on it, let's put a fade-in on that one, even though, about the same, and even though she's dominating the line, so let's see.
(woman speaking in foreign language) - [Woman In Clip] I am not an evil person. (woman speaking in foreign language) - [Instructor] Okay, that's working out well. Let's fix this track issue, and then we'll be done here. So let's make this SOT be a S-C-R-E-A-M. And we'll move this down here.
And we really need two scream tracks, I think, because we have a scream overlap. If we take this, and this, and bring them to, let's do our shift control T, down to there, and then let's bring that clip up to here, now we have all her dialogue on one line, and then this is a scream thing, another scream thing, and more scream here.
(woman screaming, crying) Okay, and there's a slight inhale on her scream here that's kind of fighting with that scream there. (woman screaming, crying) You kind of hear a double inhale. You know, frankly by the time we get this heavy music in there, I don't think you're ever going to notice that, but we can always address it later if it becomes a problem. I'm thinking that these screams probably want a different texture on them anyway, and texture is our next topic, 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