Examples of keystrokes, concepts and procedures that are and are not covered in the title
[Instructor] We're using Logic in this title, but this title is not a Logic Essentials title. Logic does a lot of things that we won't cover in this title. We're using it for audio post-production, so if you're completely new to Logic, or completely new to audio post, I'd suggest starting with other, more basic titles on lynda.com. I'm using Logic 10.2.4, running on Sierra 10.12.2. If you're using Logic 9 or older, 10 will look very different to you.
It's a complete overhaul. So we'll assume that you understand the basic window layout in Logic, and understand importing, arranging, bus assignments, aux tracks, mixing and bouncing. We'll be using Logic screen-set options in our workflow. We'll be using Cycle to define playback regions. We'll be using a MIDI keyboard, and the EXS24 sampler for sound design. Our set-up would accept audio from any of the exchange formats, AAF, OMF, or XML.
Mike and I have settled on AAF as our preferred format because it presents fewer problems connecting the session data, to the audio files. Eventually, we'll probably all be using MXF, the Material Exchange Format, but until that day comes, we prefer AAF. Now I'll use Command+Tab, switch over to Safari, and show you that you can find out more about MXF at the Advanced Media Workflow Association website.
Alright, now I'll use Command+Tab, and switch back to Logic. So in the course of our mix, we're going to use techniques for EQ, compression, aux sends, and SMPTE lock, and SMPTE offset. We'll insert and configure a limiter on the master output. Apple added a loudness meter to Logic 10.2.3. Waves and iZotope both offer loudness meters which, at the time I'm recording this, work by analyzing your finished mix.
Logic's loudness meter works in real time on your stereo output, and that's a big advantage. We'll be using automation to write and edit volume moves, and also to automate EQ changes. We'll take a look at inserting iZotope RX 5 into a track to process dialogue in real time. It's a great app, and there are standalone training titles for RX 5, where you can learn more about what it can do for you. So, if you don't know what a sampler is, if you've never set up an aux bus, if you don't know what a limiter does and why we use it, there are good background titles on lynda.com for more details on those, and other subjects.
So the goal of this title is to put those skills and concepts to work on a project. So let's do that.
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