Join Joe Godfrey for an in-depth discussion in this video SFX library in Logic, part of Final Cut Pro X & Logic Pro X: 2 Mixing Dialog, Music, and Effects.
- [Instructor] Okay, well, let's tackle that Harley sound. I think it's a Harley, I don't know that much about motorcycles. But, it looks like a Harley. And it's definitely not a dirt bike. So, it happens kind of right in there, and he starts out, maybe revs once, and then pulls away. So, let's find some sound effects for that. Now, to do this, (sighs) I'm going to take this sound effect, this is actually our, let's call it clothing... Rustle, rustle... Not rostle, and let's make another track. It'll be an audio track. right there in the sound effects area. One of them is for this guy. where we select a track, select a region, for the two cutaway scenes, and I didn't do this one. So let's do this one now. and selecting the room tone, Cmd+T. (foreign speech) And then we'll just move it out to here. We won't do an L or a J cut even though we talked about and said we could. And now I just need to mute this room tone, Ctrl+M, and this sound which Mike did provide. (foreign speech) (door closes) Okay, that's kind of a strange sound. As this door opens, he's got a hydraulic door, kind of. (foreign speech) All right, I am going to make an executive decision that we don't want that much bottom in that sound, so let's just knock it all out and listen again. (foreign speech) Well, okay, I take that back. We want a little bit; we kind of lost it all. (foreign speech) (door closes) Okay, so I think that's sort of what he had in mind. Remember, we've got music going on here, All right, let's fix that Harley thing, so we'll call this door cigarette, so we can remember what that is later. So let's do motorcycle. And, (sighs) where the motorcycle happens is about here. So, let's go to the loop library. Movie's in the way again, and we'll type in m-o-t-o-r, ah! What happened? I lost my field. M-o-t-o-r-c-y-c-l-e, and I have 23 now, motorcycle sounds. So I can probably toss away these dirt bike and drag race motorcycles. The police ones probably aren't relevant, but I do have a Harley Pull Away, so let's take that guy. (motorcycle engine) So let's take that guy and bring him into our timeline on the motorcycle track right there. He's muted, so. (motorcycle engine) (foreign speech) So we need the pull away to be about... Somewhere in there. So this looks like the pull away, woops. I want to select this, ah. Somehow I changed tools when I clicked in here, so let me see. There's my pointer. Let me push this up here, so that it's more like that, and let's take a look. (motorcycle engine) (foreign speech) Okay, well first of all, we like O and J cuts, but we don't want to lead this motorcycle sound that much, so let's trim off the front of this to about there. (foreign speech) (motorcycle engine) Okay, it feels like that's a little late. Let's move it up to about that. I did that with the semicolon key. (motorcycle engine) (foreign speech) All right well that's definitely in the neighborhood, so I'm going to zoom a little. And let's put a, movie's in the way again, let's put a fade in of about three seconds. Woops, missed a zero, three, zero, zero, zero, and just sort of ease our way into that. (foreign speech) (motorcycle engine) And it needs to be shorter. Now one kind of cool thing is that not only can we fade out, we can slow down. So let's put that effect on here. I really don't think I want this or I'm going to love it, but let me show you that it's there. You also have the option to speed up as you fade in, or, you know, it's an option in that choice there. So let's see what this effect is like. (motorcycle engine) (foreign speech) Okay well, it's a cool effect, but it's totally wrong for this, so let's use our regular fade out and see if that does it. (motorcycle engine) (foreign speech) Still feels just a smidgen late to me, okay. I'm just going to move it up about, oh, that far. (foreign speech) (motorcycle engine) Well now it's too far, so let me undo that. I'll just move it just a smidgen, it feels like... (foreign speech) (motorcycle engine) Now I could, in fact, I think I want to try option dragging this down, woops. I need option dragging, so click option and drag. Well, it's fighting me. I want to click an option and drag. It's just not liking this today. Option and drag, and it won't let me do it. Okay, so I have a good workaround. I'll just bring it into this other track from the library, and what I'm after here is to take that sort of rev sound and fill up that little hole right there between his rev and his pull away. And then to do that, I just need less of this on the backend, and let's see how that works. (loud motorcycle engine) (foreign speech) It's a little doubled, (foreign speech) (loud motorcycle engine) And let's have it end where this one ends and fade out about as much as that one does. That's a little bit too much, kind of in that neighborhood. (foreign speech) (motorcycle engine) And let's just bring this volume down a little bit, just so it kind of fills up the little hole here. I also have the option of, if I wanted to make this guy seem a little more aggressive, I could have him rev up. I have a couple. (motorcycle revving) So there's that option. I can sort of paint this guy to be a little more aggressive, but this feels pretty good, and again, we have music coming up, so let's see how the music changes all that, but that feels pretty good for the Harley. Now this is probably not right for this mix, but I do want to show it to you, because it's going to be right for something sometime. I'm going to zoom and show where I am. Zoom all the way out to everything in my session. So let's say with the motorcycle that I just really wanted to change it dramatically, so one of the plugins which we use for music but is available to us for sound design is audio effect and Amps and Pedals and Amp Designer. So let's go to Stereo, and you have now found yourself in kind of a music store with lots of amplifier choices. You can browse by tone. That might be the most effective one for using sound design, so you're not trying to make a stratocaster sound, right? You're doing Lo-Fi Distortion and lots of choices here, and I'm not going to run through all of them, but there's no reason why you can't put an amp simulator on a sound effect and get something interesting. So just for grins, since we're here. Let's see what, movie's in the way again. (motorcycle engine) So it put a little reverb on it, and that's just the default setting. Let's do Browse by Tone and Distorted, and let's actually try that Lo-Fi Distortion, and get this guy out of the way. (aggressive motorcycle engine revving) Well that's exactly as advertised. It's Lo-Fi Distortion, so not the right sound effect for this motorcycle but wanted you to know that that's there. Just going to take that plugin out of there, because some days for something, it's probably going to be the cool solution to your problem. Also wanted to point out that you can reverse any clip here as one of your choices. So let's just reverse it and see. - Learn their every move. (foreign speech) (motorcycle engine) Actually, you know how this one was sort of doubling? Let's try reversing that one and see how it goes. - Learn their every move. (foreign speech) (louder motorcycle engine) Well, I like it, and it kept the fade on the back. Notice that it didn't reverse the fade and put it on the front. So there's some sound design in Logic. Let me get the play head back to the beginning. We'll push our movie off to the right here, and there are a couple of more sound design tools I want to show you that I'll show you 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