Join Abba Shapiro for an in-depth discussion in this video Mixing levels with track automation, part of Premiere Pro Guru: Cutting with Music.
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- There are two areas where you can control the level of your sound. On the clip level, where you can tweak the nuance of each sound bite and musical flourish, and at the track level. The key is making sure you know which mode Premier is in. Now you can do this by clicking on the small diamond. You can choose to view either your individual clip levels and any keyframing associated with them, or the entire track. I usually use the clip level to fix audio issues like door slams or when people get too loud and they start to over modulate.
And then I go to the track level when I want to mix different tracks against each other. Let's switch and view the track levels and also change our workspace to audio. You'll notice when I switch to the track view, I have a single solid line running through the entire track, whether there's a clip in place or not. Now to switch to the audio workspace, go to Workspace, Audio, and select.
What this allows us to do is see more of our timeline and also opens up both the audio track mixer and the audio clip mixer. Now I don't have a lot of space here so I'm going to go ahead and shrink this down a little bit so you can really see the mixer at play. And when I play my timeline, you'll actually see these levels going up and down for each of the three tracks. (rock music) So obviously, there's the music track and shortly we're going to see track number two, his interview pop-up and a little bit of the ambiance on track three.
(rock music) - My favorite thing to do on a skateboard is probably just to go out there and cruise and ride around and just to be free and have fun. - [Voiceover] So if you noticed, I can see all three of my tracks and I can see that even though the individual tracks don't over modulate, all three of them together go into the red. Now the first thing I want to do is select what part of my sequence I want to start mixing.
So I'm going to simply put an in point at the very beginning and I will put an out point after that interview section. Now as I play, I can actually move these sliders up and down. Now depending on the settings here, I'm going to get different results. Out of the box, the audio mixer is probably set to Read, which means it's going to show you the playback levels as you go through your sequence. If it's on Off, it will have no effect at all.
And the key ones that you want to work with are both Latch and Touch. Now if you want to find out more about the differences between Latch and Touch and Write, I recommend checking the documentation for Premier Pro. But let's go ahead and start mixing our audio. My playhead is not positioned at the head of the sequence and I'm going to hit spacebar and I'm going to just ride the levels of the music. Now I'm not going to ride them like the final levels will be but I want to show you is how your keyframes are automatically applied to the track.
(rock music gets louder and softer) Literally, I'm just going to ride this up and down real quickly and as soon as I stop playback, you can see that Premier has recorded the automation of me moving that slider up and down. This is a great way to mix music by feel. As you think the music needs to get louder, you can bring your levels up. As you think it needs to get softer, you can bring it down, and if you make a mistake, you simply move the playhead to where that mistake happened, press the spacebar, grab the slider, and start mixing again.
(rock music) And as you can see, it updates. Now for a lot of folks, that's way too many keyframes for them to think about. And there's something called keyframe fitting that you can do that will allow you to still use this automation and sliders, but not create as many keyframes. You'll get to this under your Preferences menu, underneath Audio, and you'll notice that about two thirds of the way down, there's an option for Linear keyframe thinning, that means less keyframes overtime, and there's also a timing interval.
Now 20 milliseconds is a pretty small amount of time, so I'm going to switch this over to 200 milliseconds, I'll press OK, now watch what happens when I mix with this new setting. (rock music) Going down, bring it up, pause. I see fewer keyframes than I did before. Now if you simply want to remove a keyframe here or there, all you have to do is switch to your pen tool, you can simply select the keyframes you want to delete, press the backspace key, and they're gone.
If you want to remove all of them, well you could select all of them and hit delete, or just set your levels to zero and hit play. Being able to ride your levels on the fly using the mixer is a great way to adjust your audio levels. Now I find there's definitely two schools of thought when it comes to mixing audio. Half the editors I know love using the sliders and the mixer to mix their sound. And the other half, well they like using keyframes and the pen tool and mixing it directly on the sequence.
We'll look at how to do that next.
- Changing the duration of the music with editing
- Placing markers
- Cutting to the beat vs. cutting with the beat
- Preparing images for import
- Adjusting image size
- Editing to markers
- Trimming sound bites
- Adding effects
- Mixing audio levels
- Retiming music
- Changing pitch and key