Learn how to hand off the audio—including dialog, music, and effects—from Final Cut Pro to Logic Pro for editing, mixing, and mastering.
- [Voiceover] I'm Joe Godfrey, and welcome to this title on post-production audio mixing using Logic. When film editing first appeared around 1903, most editors were women because editing celluloid pieces resembled knitting. And when sound was introduced in the late 1920's, men took over because sound was considered more science than art. A century later, we'd made progress on the gender discrimination, but many filmmakers and editors who were very comfortable with lighting and casting and shot selection will cringe when it's time to work with sound.
If you're a sound designer or composer, this could be good news, because many of the skills you use for those arts can be applied to crafting a soundtrack, if the budget can afford a specialist. If you're a filmmaker and you can't afford a specialist, maybe you're interested in adding to your skill set. My partner in this title is Mike Tow, who I worked with on a variety of projects. Mike and I have developed a system for handing off the dialog music and effects mix from a Final Cut timeline to a Logic timeline.
There are some things you want to do in the right order, and others you don't want to do. In this title, we'll cover them all. So why Logic instead of Pro Tools? You can see that I have Pro Tools up here in the corner, waiting to be updated. Well you can do this job in Pro Tools, as the last 20 years or so have demonstrated. And Logic's strength has traditionally been music, not audio post. In fact, I conducted an admittedly unscientific poll on LinkedIn, trying to determine if Logic had made a dent in the audio post community.
I was not surprised to discover that Pro Tools users fall into two basic camps, those that will never give it up, and those that would like to, or already have. I was a little surprised that Nuendo is as popular as it is for post work. I got a few comments like you can't do post in Logic, Logic's for music. So, I hope to convince you that you can do post in Logic, and if you're already using Logic for sound design or music composition, why go through the hastle of exporting to another app for your mix? So let's get started.
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