DaVinci Resolve 15 - Fairlight Audio Production Part 1

hi I'm Mary and I'm here to talk to you about Fairlight page in DaVinci Resolve 15 so here we're going to take a scene that was edited and we're going to develop the soundtrack into a fully professional quality soundtrack in audio post so if you're following along you've already downloaded the project so let's get started the project's opened one of the things we might want to do is go ahead and reset the user interface so under the workspace menu if your interface doesn't look just like mine go ahead and click reset and that way it'll match what I'm working on now let's talk about the interface real quickly this is the default interface the main portion of the middle here this is all of your timeline your audio timeline and this is where you have all of your clips and your tracks there's a ruler running across the top you can click anywhere on that ruler to move to that particular frame and of course you can see which frame you're on right there in the viewer at the top now running across the top of the timeline you're going to see your monitoring panel I'm actually going to mute playback for just a moment so that when I start playback here you can see this is where you have meters for every track in the timeline and you can also see I can see my video as I'm playing you can also resize your monitoring panel by just dragging the left edge next to the viewer you can see that I can resize this anyway at night too I can resize it any way I'd like to because as you see we've got meters but I only have three tracks and three meters right now so I can take advantage of that real estate and make it a little bit larger you can also resize this the screen as well by just pulling down below the viewer and now I have a larger viewing area that I can work with so it's a very flexible interface which is great now just below the monitoring panel you'll see over on the right we have our mixer and the mixer is where we have a channel strip for every track in the timeline you can just drag the edge as you can see to expand that which is very useful and then here I have a channel strip for every track if I click on any of those right here and select them you'll notice that the corresponding track will also be selected one other thing you'll see right away is whatever track I have selected when a clip is underneath the playhead that clip actually is highlighted as well so that's very useful I'm going to stop playback and if I want to deselect it just click anywhere in that grey space so we have our monitoring panel at the top we have our mixer on the side and then of course we have our timeline so those are the three primary areas that we'll be working with and then here at the top above the timeline area you're going to see your transport controls and what the transport controls have are just your basic controls that you would use for moving your playhead around and of course it's everything you would expect your play your stop and here's your record button for example now I'm gonna jump back out of there the other thing we would use for playback is of course just the national standard which is a spacebar so anytime you want to start a stop just use your spacebar as you would with any other application now if I want to jump to the home position just hit the HOME key and if you want to go to the end position just press end and that always take you to the last frame in your project so you now have a way to navigate your way around let's dive in and take a look at what's actually happening in this scene now when you get a scene from editorial first thing you want to do is evaluate what do I have here to work with everything that the editors do when they're editing their soundtrack is very deliberate they have a reason for it so part of the job is to figure out what it is they're doing and why and then just to expand on that to make it sound even better so right now I have three tracks I have my dialogue track here at the top which is going to have all the talking parts and then we have our drone track which is going to be a general filler track and then we have an effects track at the bottom now one of the things that's very useful is when you're looking at tracks let me go in and look at them a little closer is you'll see that you have these two buttons here a solo button which is the s and then you have the mute button here and what those do is they allow you to listen to only specific tracks or to mute a track so that you can evaluate individual tracks as needed and so that's what we're gonna do right here dialog we can kind of figure out let's take a look and listen to some of these other tracks so for example if I solo this drone track I'm going to deselect all the tracks here by clicking the empty space and if I solo this and just start playback I can hear what it is and let me just turn off my mute so that you'll be able to hear it also so that's just a general drone sound and those are used as filler for just a background sound to kind of fill in the gaps and it's also selling the idea that we're on a spaceship which is useful one issue I'm going to have is obviously the volume levels on this is going to be a little bit loud so we'll deal with that in a minute so we have our drone track let's see what this lower track is I'm gonna solo that one and listen okay so that is medical equipment as you can hear it that's gonna be the respirator sound that goes with our character who's here on the medical equipment which makes sense we would want to have some kind of respirator there so I get it now I notice that the editor has put a fade on that on that clip which means they're trying to lower the sound which is great but if I play a little bit forward I'm going to roll through this and just see what's happening if I go a little bit further I'll see that the respirator is still in the same room so it doesn't mean I want to make it go away altogether we're just going to lower the level of that clip when it's necessary so we'll do a little bit of work with that here in a second so let's unsolo that track and let's go ahead and make it longer because we can and to extend a track all you need to do is just grab the edge of it and just drag and you notice that anytime you click the tail of a clip which is the end the head of the of a clip is the beginning and if I clip click on the tail it will show me my handles which as you can see I have plenty of handles for this clip to make it longer so let's go ahead and extend it so it lasts about the same length as our dialogue and then I'm going to remove that fade if you look we've got that fade here I can just remove that by dragging that fade handle out so it's probably not necessary if it turns out we do need to fade we can deal with that when we get there one other thing while I'm here is let's go look at the end now and I want to zoom in a little bit just to see if we've done a clean job when we extended this so let's put our playhead down there towards the end and we're going to zoom in and to do that we can use the zoom controls here above the timeline you have two you have one zoom control for horizontals and you notice that whenever you zoom horizontally it's going to always put the playhead in the middle which is great because then the clip I'm working with is right there front and center and I can adjust it or extend it which is perfect so that is for doing horizontal zoom and then for doing vertical zoom it's always going to look at your selected track so if I select this track and I make it larger you'll notice that I can really blow that out and make it huge to work with because that's the selected track using my horizontal zoom if you're using a three button Mouse by the way the shortcut would be the option key for doing horizontal zooms and if you hold shift let's see if I can get this one to work if you hold down the option key it's going to do your horizontal zoom and the shift key is going to do your vertical zoom so you have total control of it with your mouse if you prefer so let's go ahead and make this a little bit bigger so now that I've selected that I can really see each progression by looking at the waveform of I could see the progression of that particular sound effect and so now I know I want to extend it and let's let it finish out that cycle right at the end there and so now if I want to see well how does that gonna sound I'm going to zoom use my vertical zoom to bring all the tracks back I'm going to click down here to the end and let's just hear how the end of this sounds with that finished piece there he says what and then we go to a spaceship so I think that's gonna work just fine again later on if we decide we want to make any adjustments you can always change it let's go back to the beginning I hit the HOME key and I'm going to use the shortcut shift Z to fit everything horizontally into the available space on my timeline now before we actually go in to make any adjustments I do want to point out as I said before this was edited on the edit page let's go to the edit page for just a minute first thing I'm going to do is let's move our playhead somewhere over that first clip so you just have one spot there that you're looking at and you can see okay we've got our character the very first shot there is and then let's go to the edit page and when you go there you're gonna see we're on the exact same frame it's the same timeline nothing has changed the only thing that changed is we actually went to the edit page and now here you can see what we actually did when it was cut together and if I click this horizontal line in between my video and audio you can see you can raise that up and now you can see the entire timeline right here and I can hit shift C and I can see the exact same clips same timeline as you can see it's very uniform we're in the same place we're just looking at it from a different page this is where you go when you want to edit your picture and sound let's go back to the Fairlight page this is where you work on your soundtrack and in this in the Fairlight page you only work with your sound so that's perfect so here we are and we are ready to make a few changes so the first thing we have to work on and it's the most obvious is our volume levels so we're going to start with the drone track and let's just deal with the volume levels I'm gonna solo that track again and when I solo that track just click the s button there and if I start playback we're gonna focus on the sound and I want you to look at the meters because you don't have to know that much about the meters to understand how they work even if you're brand-new to audio mixing I'm going to give you a couple of clues here for your sound levels these levels are marked in three different zones of color which makes it very easy for you to see instantly if it's too loud or too quiet to get your basic level set up if I start playback you'll see and I'm gonna dim the sound just for a moment if I look at playback on this drone do you see how it's in the red area we don't want a background sound ever to be in the red okay unless someone's standing next to a jet engine we don't want to have it in the red area the yellow area is actually where we want to have all of our dialogue if you always mix your dialogue so it's in that yellow zone it's gonna sound good and then of course you finesse the levels as you go the green zone would be more for your background sound background music so let's go ahead and move this down to the green zone now and to lower it we have a couple of choices we can select the clip itself and we can just lower the volume level of the clip and you notice as you raise or lower just click on and I'll zoom in a little bit for you if you just click this overlay you can see that I can raise or lower my levels and the graphics will update on your waveform so that you can see if it's louder or quieter you can also adjust the level of the track itself in the mixer or right here using this field so you have a choice it's preferred if you just go ahead and inside of the timeline on the clips balanced those first so that's what we're going to do here we're going to use our mixer as a guide and we're also going to bring up one other panel and that's our inspector so go up to the top right let's look at our inspector and this is very useful because the inspector allows you to find out more information about whatever you haven't have selected for example if I select this clip you'll notice that it shows more information about the clip if I select the track it's going to show me information about the track and allow me to make changes there so in this case I just want to select the clip and let's look at the inspector and here it shows me the volume level it shows pan if I need to adjust the pan I can adjust the pitch and there's even some EQ that you can make adjustments to if that's what you need to do in this case we're just looking at the volume I'm going to click this reset button right here and that'll reset the volume level of that clip since I was just messing with it and now what we're going to do is make the change here on the clip itself now I can change it by dragging or I can change it by dragging over here on the clip volume in the inspector so I can do it either place if you ever want to reset your level just double click on that volume overlay and it will automatically reset it and by the way when you're looking at this field that zero point zero does not mean zero decibels what it means is no change has been applied to that particular field so it just means that no changes in applied and then what we change is shows how many decibels we've made adjustments to so let's come over here and I want to lower this a lot so I'm gonna start playback and as I play that I'm going to bring this down until again I don't want it in the red I don't want it in the yellow I want to bring this all the way down to the green area and there it is and you also want to use your ears when you're working with sound obviously so you have to trust how it sounds in addition to just making adjustments based on meters okay so they both work together so now that I've changed the level of that particular clip let's see what I set it to if I make it selected I can see them around minus 13 decibels is how much I've lowered it so let's do the same thing to those other clips in the track I'm going to hit shift Z to fit everything to the timeline and then I'm just going to select all of those additional clips at one time and when I do that look what happened in the inspector the inspector now shows that we have multiple Clips selected and that's perfect because with multiple Clips I can then make the adjustments to all of those at one time so I'm going to go ahead and lower those levels to around - 13 - 14 anywhere between 13 and 15 just something that's low enough that it's not going to be stepping over my dialog and I've now set the levels of that particular track what's great is because we did not adjust the level of the fader at all that means I have all of this room to adjust my fader later on when I get into mixing now let's move on to this next track so we've dropped down and fixed the drone track let's now look at this effect and if you remember this effect had that fade going on by the editor and now we're going to figure out why that fade was there and do the same thing but we're going to do it on the track and then on the clip so the first thing I want to do is let's reset the level of this particular clip double click looks like it's set I noticed that the level of the track has been lowered by 15 decibels and if I look over at the mixer you'll see that this fader has been lowered as well so in editorial they just dropped that level and that was how they dealt with it so let's go ahead and start by resetting that level just double click on that fader to reset it and let's just see what we're actually dealing with and then we'll make adjustments to it so I'm going to turn off my dim for a moment so I'm playing it at full volume and let's listen okay it's it's a good sound it it really sells the idea of this respirator that we're seeing however it's also kind of loud and it's gonna be a bit annoying and we don't need it to be annoying we just need it to be present and make sure that we're selling the idea that this guy's actually under this medical equipment so what we'll do is we can adjust the level here on the fader and this time we're gonna do it while listening with the other tracks and to do that we can just start playback I'm gonna do mine dimmed but you can do yours at full volume if you're following along and we're going to just drag this down and lower it while we listen and actually I will take off dim for a moment and try this and I started at the very beginning press home and I'm just going to listen and lower that level and I'm gonna watch my meters let's make sure that those levels are down in the green so here we go way back I'm just lowering it okay I want it to be subtle there we go somewhere in that ballpark is good so I've now lowered the level of the track by using my ears and notice that it also allured it here and the faders so set your own levels and just watch it as long as I'm out of the yellow zone with that I think I'm okay I could bring it down a little bit if I need to you can always adjust your levels it's not a set it and forget it kind of environment when you're constantly changing levels when you're mixing or working with audio the idea is to keep them balanced as you go so you don't have so much work down the road trying to just fix thing and make them work together here they're already working so great we've got that part done next what we want to do is go ahead and lower it and we're gonna try to achieve what was done with that fade-out only we're going to do it a little bit smarter right here in audio by adding a couple of keyframes to the clip itself one other thing I want to do is I'd like to see the video track so we're going to come up here to the timeline options menu and we're going to click on that and in the timeline options menu you have some choices for being able to see different elements of your timeline I'm going to just go right here to the video tracks and by turning that on we'll be able to see the actual video clips just click out of that menu when you're done and now I can see every single clip that was edited in the timeline all of the different tracks from my edit page I can't actually change them which I wouldn't want to do I can just see them as a reference which is great I'm going to move my playhead over here to around 12 seconds and I'm gonna zoom in all right so let's zoom in on our clip now I've got a lot going on here in my real estate so I'm going to keep the inspector open but just letting you know that you can always adjust your volume or you can always adjust your clips as you need to for example right now I can collapse these clips just horizontally zoom so they're much tighter these tracks and then I can just extend this one track by dragging the bottom of the track header and now I've made this one much larger so I can focus just on the area I need to right now now this is the area in question and as you can see we go from having the character right in the foreground to our main character looking at him walking across the screen and from the rest of the scene he's going to be in the background and so for that we can actually just lower this level right here and let's use his clip when he walks across the screen as a guide so I'm gonna move my playhead here and if I look I can see that there's one section there in the waveform where we have one of those respirator fully full respirator moves so let's go ahead and use that as a guide I'm gonna option click on the volume overlay and when you option click you set a keyframe right there on that particular overlay at that moment and I'm going to come over here I'm going to set a second one on the other side of that particular respirator area so we're looking at this piece and now when I play that back these keyframes are roughly the same length as that shot and then what I'm going to do is I can lower the volume level of the entire rest of the clip and what it's going to do is going to give me a nice gradual fade as he's crossing the room and then by the time he gets to this side and we see the respirator in the background it will be much quieter now you can use your inspector as a guide if you want to to look for obvious numbers for me I'm just going to listen to it and see does it work I want it to be present you want to hear the respirator we just don't want to be stepping all over our dialogue at any time if we realize it's annoying us if it's too loud you can always adjust that level later so let's play this back I'm gonna move my play and right about here and just play this little section and there you go so here you can you can hear that it's clearly still in the room but now we've lowered that level so we accomplished what the editor had done with the fade but we didn't remove it completely and now it's still working as part of the scene because obviously if it's in the scene and we can see it even if you don't see it visually in every shot it's still there and when it comes to audio when you're selling a location you have to make sure those sound effects are consistent throughout the scene so let's hit shift C so we have now finished at that section now remember how I change the size of that track I can adjust that by just changing my horizontal zoom you notice that all the tracks now catch up and they're all the same size again let's let's now close down a few of these different panels I don't need my inspector right now so you can just click that button I don't need the mixer right now either and in fact I don't even need to see all of my monitoring panel at the moment I just want to see the viewer and if that's the case you can just click this little button below the viewer and it'll pop it out as an individual moving floating viewer that you can resize and I can even hide those meters and so now I'm working with my timeline however I need to to get through my job and in this case I'm gonna set it up just like this and find out what else I need to do for my project let me set it down here and I'm gonna hit shift Z and notice my entire timeline fits again and now I can move on to what else I need to do also I don't need my video truck anymore so let's hide that as well go up to timeline options and just turn that off so now we're focused on our timeline we've got our levels balance pretty good so now we're going to look at some of these markers across the top of the timeline so if you notice over here on the left hand side we have an index let's turn on our index and this is going to show you your different tracks and also your markers and so I'm going to look at the markers index for a second let's go into list view and in the list view of our markers this allows us to if you look at the list view this is going to give you a thumbnail for every single marker and it's also going to give us additional information and these markers were created by the editorial department and by the way I'm going to resize this a little bit just grab the edge and pull and now I can see all that information and you the entire interface changes to accommodate what it is I need to do at any time which is great so what I want to do is I'm going to move this color I want to move this particular category over so the color of the markers I just moved to the left and there's some of these different columns I don't even need that information right now I just want to see the name and read the notes so if you right-click on any column header you can just turn off your starting your ending time code in your duration so now I can focus on just the elements I need let's resize the name column there you go and so this is a nice way where the editorial department can leave notes or you can sit down and you can set notes within the timeline and pass information back and forth and we can keep it just like a spotting list right here in our timeline to look at I'm gonna sort by my colors here and I noticed the purple markers have to do with sound design and then we have these red markers here and those are have to do with things that we need to fix within the dialog tracks so I'd also since we're looking at these one thing that's come to mind I'd like us to actually add another marker is let's go back towards the beginning just click over your playhead in this empty space this shot at the very beginning we have that respirator and I know you see the respirator on him but to me nothing speaks of hospital or medical equipment more than a heart monitor and that's a really known sound and I think that will that will really help sell this entire scene and so one of the things I'd like to do is let's set a marker for a heart monitor to remind us to actually create one later on so to set a marker just move your plant anywhere over that empty space where we're seeing that clip and you can either press M the shortcut for marker or you can just come over here to this marker area and just click on the menu go down and let's just make a purple marker in this case there it is and if I want to write information in it just double click the marker right there in a timeline and let's call this heart monitor because we're going to create one of those from scratch it'll take us about two minutes to record and create our own heart monitor that we'll be using in a little bit so that's just a reminder for us so now that we've set our markers let's go ahead and I'm going to sort the other direction and now I'm sorting through the red mark kurz and we're gonna go in there and see some of these different elements that we working on for our dialogue tracks which is very useful for now though let's do a couple of these short bits here for our sound design let's look at the first marker that says suspenseful drone just double-click that thumbnail and it'll take the playhead to that position and that's the first thing that we're going to do I don't need my index anymore for now so I can resize it this way if I want to make it smaller or we can just hide it so let's just hide our index and we're going to go into the media pool instead now if you just open up this project you depending on what you have selected here our master bin is where all of the information or all of our different bins of media is in this case we're going to come down to where it says SFX sample and this is where we have some different sound effects and we're going to go into our drones in the atmosphere sound effects and this is where we're going to find something that we can add the instruction was suspenseful drone so that's what we're going to put here and I'm gonna move my viewer over to this area for the moment again I can move it anywhere I want to whenever I need to which is useful and I'm not even going to create a track in fact I could even close this right now if I want to and come back to it later I'm not going to create a track I'm going to show you how we can have fair light we'll create the track for you based on your media so let's go through here and look we're looking for something called suspenseful drone I see something down at the bottom you can look at them in list view or icon view and anytime you select a clip you'll notice that it shows up right here in the preview panel and what's nice about the preview panel is this gives you the ability to use your home and end keys to see the beginning and end of your clips you can also play the clip through this is our drone and that's definitely a suspenseful drone right I can hear that and you can even use your spacebar to start and stop this in this case we're gonna use the entire clip I do want to point out that there's a second suspenseful drone in there if you notice that one has six channels of audio so that's a 5.1 surround sound effect we don't need that for this particular shot so we're gonna come back and use just the two channel suspenseful drone you notice it shows me both channels and we know what's going to go to this purple marker by the way if you want to navigate between your markers without going to the index just hold the shift key and use your up and down arrows and let's come over here into the timeline notice I can be anywhere I want to and if I use my up and down arrows it will go from marker to marker so let's make sure we're on that purple marker right here in the middle and I'm going to bring this clip over and I could do it one of two ways I can select it and drag it straight from the list or I can bring it from the preview player and just drag it down and notice that I'm gonna move it to my playhead and notice a new track is created for me and I just released this and now it's in the timeline it's created a track that matches and I matched it to my marker position so that's how easy it is to edit a clip into the timeline now the first thing I do always want to add a new material is let's go ahead and name that track right now double click the name and just type drone - that way we have two different drone tracks I also like to use colors all my different tracks to keep keep track of them right but to organize them so we'll right-click and go to change track color - Navy and that way it matches my other drone track and I'd like to also move it up so it's with the other drone tracks so we will just right click again and choose move up so as you can see it's infinitely flexible and you have total control as to where you want to put your clips and editing your tracks so now that I have this here first thing we have to do and you already know this is we're going to set the levels now instead of bringing up the mixer we should be able to do it by just looking at this little meter right here in the track header so I'm gonna watch it let's just solo that track and listen and you see how it's in the red so we already know that it's too loud you've already been taught this so let's bring it down quite a bit you can get that down in the Green Zone that's pretty good and then you're just gonna have to use your ears and trust yourself at some point you have to go I know if it sounds good or not and you're gonna have to trust your own ears and make adjustments accordingly so let's go ahead and just add a fade at the beginning and end and let's just play the beginning of this section I'm going to start at the purple marker and just play just for a couple seconds if you want to see the video and audio let's bring up our meters so you can see the video and to start playback and it'd be nice if we unsolo that track so let's try that one more time and here comes the drone you died you see how we have that nice subtle drone you don't want to beat someone over the head whether you want it to be a nice quiet something that you just slip in there just to add a little bit of suspense and then it disappears just as easily at this moment I don't know how the director wants to play the scene this is a scene of people talking in a room so it may have music it may not have music but the drone will really help us on the emotional level at this point so there you go we've just added that let's add one more thing if you notice I've still got my media pool open let's go to our index and you notice you can have your marker index and your media pool showing at the same time which is great and what we want to do is let's look at that other marker below this that was the subtle explosion sound double click that icon and it will take our playhead to that position and we're going to add a little explosion right here where Philip says boom so I'm gonna now hide my index and let's resize our tracks I'm just going to use my vertical zoom there and just make these a little bit smaller so we can see them and we're gonna add an impact sound if you notice we can go to our sound effects look for where it says impact right here that's one of our categories and I have two different sounds that we can choose from there and before we do that instead of bringing it just into the timeline to create its own track we can actually make a track ahead of time if you'd like so let's just create a track from scratch this time just right click in the header area and just choose add track we want this to be a stereo track and there it is it's just created the track for us let's name the track it's always a good idea and we'll call this impact and the impact anytime we have a sound that's going to be an explosion and impact something loud and and disruptive that we really need in our scene it can go into this track now so let's choose one of these two sounds let's go over to our media pool we have a soft hit I'll press the HOME key to go to the beginning and play okay that's one and then let's listen to this other one okay and these are pretty even though they seem loud on the meters they're not too loud these are nice resonating very low-frequency kind of sounds just to kind of sell the idea of an explosion so let's go with the soft hit right here and I'm going to drag this to my impact track and I'm going to line it up with the marker there we go so we've just added our sound effect one other thing I'd like to do is let's go ahead and color this track purple right click and change the track color to purple I just happen to use purple purple for effects you can use any kind of color schemes you like I just like to use purple for effects that's just me so once we have that in there we now have added two new tracks we've added a little bit of sound effects so we've kind of built up the scene let's see what we actually did I'm gonna hide the media pool I'm going to zoom in a little bit I'm gonna this time I'm going to use the command key and plus or the equal sign and it just makes it a little bit bigger so I can actually see what's happening here might reduce the size of these tracks a little bit and make this one a little larger because I can and as you can see this gives me an opportunity to see what I've actually done let's move our playhead back a little bit and I'm just gonna play this section you would space watching so just two hours ago boom explosion it surrounds the whole ship okay so that is our clip in the timeline now what we want to do is maybe adjust the sound a little bit more of this particular clip it's good it's loud but I think I want to just punch this up a little bit differently in the story because I think instead of it being part of his memory if you notice that as we play through this explosion it surrounds the whole ship here we actually see the explosion so I'd like to move this over and to do that I'm gonna actually bring up something new in the interface that's very useful for matching sound effects or different things to the picture so let's go back over to our timeline options we're gonna go down here to our scrollers and we have one video scroller we'll bring up and one of our two audio scrollers that's all we'll need for now and then just click off of that to close up that menu and over here you can see we now have a filmstrip where we can actually see every single frame and we also have down here we can see our waveform which is very useful I'm going to move my playhead back to that marker so that I can see here are the two elements the way they are synced at the moment I'm gonna play through this okay and then let's go through here notice if I drag this what I'm really doing is I'm just moving the playhead around and what I want to do is I want this to start on the first frame of the spaceship so I'm actually gonna double click on that frame my plate is now moved to it which is great so now that it's moved to the spot that I want it to go I can now not move the playhead but move the clip itself and one thing about moving Clips around in the timeline is if you zoom in on the clip like I am right now the more you zoom in the more refined your movement will be so by zooming in a little more when I drag this I can move it the subframe level which is really useful and I can really place this exactly where I want this to go so that I've just placed it because I don't actually want the clip to start on that first frame I'm gonna back it up a tiny bit so that the explosion is happening right when we see the explosion on screen so as you can see I've lined it up here on the timeline and I've also lined it up down here using my scroller so that's what the scrollers are useful and then if I want to play this section again I'll go back to my marker and play this one more time oh it's this explosion and it surrounds the whole ship okay so and that's working great so now that we've done that I'm gonna fit everything to the window and we're going to hide our scrollers those are a valuable tool when you need them but always hide the parts of the elements anytime you have something on your interface that you don't need it's a good idea just hide it until you need it again that way you keep more real estate for your actual work so that's great so now we have accomplished getting some of our clips together we have set up our basic tracks I'm just resizing things a little bit here so that they all match and now what we're gonna do is we're going to now focus on the most important part ninety percent of what we need to do is all going to be on the dialog tracks because dialogue is King dialogue is the most important part of our soundtrack if nothing else is right as long as we have our dialogue clean and clear you you can use very little sound effects and music and still have a good scene or the drama will still work but you have to do the work to make that dialogue really effective so we're going to now focus on the dialogue tracks now one of the neat things about this is we can change our interface let's go back to the index and we're gonna go to the track index and since we're going to focus on the dialogue tracks one of the things we can do is actually hide all of the other tracks now if you didn't follow along with all of the other steps that we've done so far if you notice right here in this popup menu and also let me hide the index and go to the media pool here in the tutorial time lines bin you'll see that I have all backup time lines for you so you can just go on to the next timeline and right here number two record new voice over and you'll have the exact same timeline I just had and you'll be caught up so you'll have that so you can access your time lines here in the media pool or you can also access them right here by just using this popup menu and find the next time line so now we're back to the index what we're gonna do is I'm gonna hide all of the tracks except for the dialogue track we know they're there we know the levels are set everything's working well I'm just going to come over here and notice there's little eyeball icons right here that shows your visibility for track if you click it on or off you can just hide the track it does not mute the track you will still hear them I'm just no longer looking at them in a timeline so I can focus on the parts that I need let's hide the index I'm gonna fit everything to window with shift C and now we're going to focus on these light green Clips here these clips were created these were recorded on the set this is basically scratch voiceover or this was someone reading at feeding the lines to the actors but it wasn't the real talent so now it's time to go in there and record the voice of this character who is our computer so I'm gonna just start playback and just let you hear a little bit of this dialogue and then we're going to work on replacing it are you sure identify the person I'm speaking with okay so you can hear the voice you can tell that it's not a great recording it was just again it was cut in there for timing we do not see the computer the computer is not present in this shot so we don't have to do dialogue replacement and actually try to match up words to moving the lips or anything like that we just need to record some basic voice over into our timeline so first thing we need to do is let's create a track just right click add track we want to make a mono track because it's always good to keep your dialogue in mono as much as possible that's a single channel of audio when you're working with a single channel of audio you'll have more control less chance of phasing or any other issues with it and we'll have a nice clean sound that we can work with so and let's go ahead and name our track double click that I'm going to call it Aida that's the name of the computer voice over vo and so now I have my Aida voice over track and even though it says audio six right now we're looking at it directly below audio 1 or a 1 track now one issue we might run into is these clips I'm going to zoom in and remember wherever your playhead is is where you zoom so if you have it near the clips you want to zoom into you can see them really well one thing I'd like to do is we no longer need to hear these particular clips so if you wanted to stable clip you can just select it you can right-click on it and shoot and click this right here which is enable clip if I uncheck that I've disabled the clip which means we won't hear it it's like muting it within the track so let's mute that first clip and I'm also going to turn it off all the other ones as well so I'm going to command select those two get multiple clips at once in the timeline I've selected the first one let's command select holding command and I've clicked each of those and then if I want to disable them the shortcut is just D and I have disabled that clip let's do this last one over here D again and I've disabled that clip now I can enable them if I ever want to but I've now turned them off so they're mute and now we can focus on replacing those with some other sound so for this example I'm going to record my voice and I'm going to show you how to set that up I have a USB microphone that I hooked up just for this example that we'll use and we need to set up this track so once you've connected a microphone if that's what you're using or if you're following along at home you can even use your built-in microphone just for this example so you can see how to record and patch now to patch your tracks just go up to the Fairlight menu at the top and choose the patch input output menu and when you click there you go Fairlight menu let's go to patch input output and when you select that it will bring up this panel and this panel will allow you to patch in whatever you have connected on the left-hand side is my source it'll show inputs that's the default and I have this is this microphone record in stereo or mono so I'm just going to click one of the channels of this is fine and then I need to choose which track I want to record to so over here for destination you want to make sure you choose your track input because that way I'm saying I want to take my audio input and record it to a track it's a very simple stream if you understand it and which track do we want to record - it's right here it's my ADA voice voiceover track so once that's selected come down here and click patch and you now it shows you that this is going to be going to the 8 a 2 vo track and it also gives you the same information on the other side when you're finished we can close this and once a tract is patched you can now go to that tract and arm it now because I am in an environment where I'm wearing a mic and I'll also have a mic here is I'm gonna be a little bit cautious with this one and I'm actually going to mute my output right now just so that I don't send feedback in if you're listening with headphones and recording you won't have any issues with that but it's always good to be conscientious before you start working with a mic now if I want to come over here and arm this track all you do is click that hour button you'll notice if I go to my mixer that you also have the ability to arm a track right here as well so in either place you can arm your track that our our button means that my mic is open and I can record now I want to do one other thing with this let me mute that track for a second is the one one other thing I want to do which is unique to fair alight is because we are part of DaVinci Resolve and there's a fully functioning editing editor right here on the Edit Page we actually have an advantage we can go over there and use titles as a script prompt which is exactly what we're going to do so let's go over to the Edit Page for just a minute and when you click on the Edit Page if you look you're gonna see that right here I have a piece of text that's been sitting in there just select it and you do the exact same thing we did with those audio clips is we're going to enable that so you can either right-click and enable it or we'll just select it and press D and that just enabled it and now I can see my dialogue my different lines for my script this also works you can even use scrolling text if you have a really long piece of voiceover you can use scrolling text you can copy and paste into that text and then you can use it just like a teleprompter so it's very useful now we can just jump right back over to the Fairlight page and now I have a script I can use which is awesome I'm going to pop this right out of my monitoring panel close my meter so I have plenty of space and now I'm ready to record and I even have my script right here handy so if you're following along feel free to try this I'm gonna just show you the mechanism of how we record and then we'll jump ahead to the next section so I'm going to unmute this track and I'm going to come up here with my mic and I'm just going to do a rough recording because we're not actually trying to match anything else and let me see this track so we won't hear any of the other tracks at the same time I don't have to match it with anything so I'm just going to record it in it doesn't matter if it lines up with anything we can edit it later so I'm going to read over these lines it's for a - computer voice over and let's read through them one time I'm just gonna click the record button when you're ready to record so here we go emiliana newton yes Philip Maeda Philip Maeda I cannot explain this discrepancy earth date is March 22nd 21:03 and just hit the spacebar when you're finished and here I can see my waveform there's my levels I can adjust and so my first take is finished now one thing I like to do is I'm going to right click and color this orange for no reason and by colouring it now when I do a second take I'll be able to differentiate between my different takes and I'll show you how that works in just a second so let's try another take real fast I'll do one more here and if I record that I'll just start it in roughly the same spot and read it again emiliana Newton yes Philip Maeda Philip Maeda I cannot explain this discrepancy earth date is March 22nd 21:03 alright and there I finished this one let's raise that level up a little bit and also adjust the color as you can see it's very easy to do this and one recording will go right on top of the other each take just is going to stack up as layers inside of the same track and just for fun let's do one more thing I just want to punch in and do one little recording right here of just I'm going to have a to say can't will use a contraction instead of cannot so let's just try one last thing we're just this one line I'll move my playhead to that spot and record that I can't explain this discrepancy there and so there's my last take notice all my different takes are here I'm going to change the color of that one as well and you'll understand the colors in just a minute when we go into layers so here we have our different recordings all of them sitting on top of each other right inside the timeline I no longer need my microphone and now we can get busy start cutting these up and making them work with the scene now to see the different takes we're going to come over here and by the way why don't you join me on this and you can have the exact same recordings I have to work with we'll go to the next timeline which is number three soundtrack with Bo recorded go ahead and open that up and you'll see it's the same timeline there's the recordings and this one has the track showing we can choose to have those showing or not I'm going to go ahead and hide those in my index just like you've already seen and now you'll have the exact same thing I just was working with let's zoom in a little bit move your playhead over this zoom in just a little so you can see it better and there we have the three different recordings different colors all sitting in the timeline now to see the different layers at the same time we just go up to the View menu and turn on show audio track layers and by doing that now I can see all three takes where they are and we can actually work with those and you notice that this gives me the opportunity to line up the audio and to work with these I think one of the things I want to do is I'm going to make this upper track a little bit smaller because I don't really need to see that now and really focus on this middle section you can make it as large as you want to this is your time line so make it as large as you want so that you can really see those and one of the things we're going to do is we're just going to line up the time line that we're going to line up in the time line the different takes you can actually see where they're repeated right and then we're going to split them up and then move them to the right position so it's very easy to work in layers now this is all within one track but all you do is just drag a clip to the upper layer and that's the one you're going to hear if I drag this yellow one up I'm going to hear that one so you always hear whichever take is above so right now I'm going to listen to this first take and let me unmute my playback so we can hear that and solo this track Emelia okay let me try that one more time emiliana new tunes okay so you can hear that first take so you can move these around however you'd like let's go ahead and stack them up yellow orange and then apricot for a moment and I would like to go ahead and split these into chunks because now that we've got these stacked gonna break these into the different parts and move them to where they belong because that's what we would do create our comp or a composite of different takes and then move the best ones to where we need them to go so very simple to do this I'm gonna just zoom in a tiny bit more so I lots of space I can really see my waveform and let's come in here and I'm just gonna by dragging one of these notice how when they overlap you can really see where the waveforms overlap so I've lined these up pretty nicely and what I want to do is I'm just going to make a split here between these first two now to split your clips or to edit those let's first select them by just dragging across those clips and once I've done that I come up here and you have your razor tool it's this one right here it looks like a pair of scissors the shortcut is command B for blade it's easy to remember and just click that once and I've now split the clips right here for that first section let's move down and split this next one again select the clips first and split do that one more time so you can do this it's very easy just pay attention to what you're doing no problem now for this last bit I'm going to try to use a different tool to cut the next section and we're gonna actually use the range selection tool which is this one up here at the top you can see that's my range selection tool and you can get there to the shortcut is our four range selection your the a gets to your arrow tool and this one goes to your range selection and what that will do is that will allow me to select a range so what we're gonna do is create a range that goes around the apricot clip at the top as well as the others there we go and by selecting that range I've now separated all of those different takes by just this little section and then to split those just grab it and pull down just a hair and what that did was it just split them using the boundaries of my range now the range selection is very functional it has a lot of different uses this just happens to be one that's useful for editing so if you ever have to go into the middle of a clip and edit something just select it with that range selection tool and there you have it let's go back to our standard area arrow tool and we are ready to move these around I'm gonna hit shift Z to fit this to the window I'm going to show you a couple of methods now that we've cut these into bits how I'm going to show you a couple ways to move these around I'm just going to make this track a little smaller so we can see the other clips here and if I want to move this one of the things we can do is just select across both clips and manually drag those over to the new section okay that's one way but I want to show you you can also do that without being in layers so let's go up and turn off our track layers uncheck on the under the View menu just turn off show track layers and we can also move this by just dragging now if I grab the top of this clip and move it I'm only grabbing the top layer I'm going to undo that command Z and instead I'm going to just drag across and that will select everything in that layer and then I can move that so I will move that let's try that one more time drag from the middle and I can move that into position so the idea here is we're going to take these stacks and we're just going to move them select a cross and move them right where they go in the dialog and you can obviously see based on the disabled Clips where they go and then I'll move this one as well so even though I have a stack of multiple takes I can move them around as if they were an individual clip as long as you understand how that works so now we have these all plugged in as you can see the last step would be choose whichever take you want to use and in this case I like the takes that I have but if I wanted to change the take I would just go over to view show audio track layers here I have my layers and let's say I want to change this one take I could just drag it above fill up me and then I'll be using that take instead so it's very simple go ahead and try that on your own system if you're following along and then once you're happy with those we will move on to the next step so once we have those set up let's move down to the next timeline which is where we're going to get into our dialog editing I'm also going to turn off my audio track layers and here we have our timeline ready to actually start with the next section which is our dialog editing so we have all of the clips in place and all we did if you are keeping the same timeline and following along just go to your index and make sure all of your tracks are showing okay so we have our disabled Clips above we have our main dialog and we have all of these other Trax it's time to now focus on the most important part dialogue now to do that one of the things we'll do is we'll solo these dialogue tracks in a minute the other thing we need to do and this is a step you absolutely have to follow if you're doing dialogue editing if you really want your sound to be good and it can be whether you're working with a scene for a narrative if you're doing an interview whatever it happens to be scripted or unscripted if you have multiple people talking on screen whether they're sharing a mic have different mics is they all need to have their own track and that's just something that we need to do so that we can treat each voice individually so right now we have two tracks that we can use we have ADA on her own voice track and we have dialogue which we can turn into one of our character tracks let's add one more track we're just gonna right click choose add tracks and then we're going to choose we just need to add one track let's make it below dialogue that's fine and make sure it's a mono track and choose add tracks and we'll place it right where we want it now if you accidentally create a stereo track some time and you need to change it from stereo to mono that's easy just right-click the track header and come down here to change track type and you can change it so that's not a big deal so now that we have three different tracks for our three different characters let's make sure we name these properly we'll go to this top track first and I'm going to change it from dialogue to Emiliana and then the second track will make for philip ph i li p there you go Phillip so once we have our tracks made for our characters then comes the most important part the next most important part which is now moving the clips to the Associated tracks for each character so for example let's bring up our meters so we can actually see the video and we're gonna start moving these clips into tracks now there's different ways that you can move the clips the thing you have to really focus on is as you're moving this this is sync sound there are people talking with these so you've got to be careful not to shuffle them from side to side and luckily the Fairlight page has a lot of different ways that we can get there so let me show you a few of the most common techniques for moving your clips from track to track let's start with this first clip here which is where Philip first enters the scene and we need to move this down and if to move this clip we're just going to hold down the shift key and by holding shift you can just drag straight down and it will not move at all left or right so this will restrain the movement so that you can get it right to the track you need and that's great it's a little bit manual but it does get us there I want to zoom in a little bit more so let's just zoom in and let's look at this next shot and by the way the smokes make sure that the clips match whoever is talking so this way you should fill up again so we want to move his down now this time let's use a shortcut from the Edit Page for those of you who might be editors and that's just hold down the option key and press that down arrow and that will automatically drop something down a track so we were able to move it you can move it multiple tracks if they're available so that was easy now let's do one more we've got this clip let's see okay that's Emiliana so we're gonna keep hers there let's move on down if I the person person-- okay that's her again let's see Edith and now we've got Philip and I think Philip is then let me zoom out a little bit I think Philip is then the next few clips so to move multiple clips I'm going to select this one and I can select multiples just by command selecting like we've done before and then to move these down to another track change this horizontally one of the things we can also do is we can cut and we can paste just like you would in a word processor the exact same shortcuts you used to using so command C command V command X to cut so I'm actually going to command X and cut those clips you notice that they became ghost images and then by just selecting the track itself it automatically moves those into that track so it could be a track anywhere in that timeline and I can move to it and then the shortcut would be command V and it'll paste it right into that spot so it's a great way to move lots of Clips at one time so based on what I've shown you so far let's get those last couple Clips hold able to go this is his let's move that one down and make sure now this one happens to be later I'll move that down this way let's get this last one emiliana and then he's got one what what so let's move his down alright so now that we've done this work I'm going to actually delete the Emiliana clips that we don't need the old ones that were recorded on the set you can delete those anyway you want to and something else I'm just selecting them and deleting them because I can and then what we're going to do is also color these because it's nice again to organize your elements I'm going to make Emiliana Streck let's make her track Orange change track color to orange will make Philips track yellow and we will make the computer's track let's go with like beige for example or something like that now the reason her clips did not turn beige is if you recall I colored the actual clips when I was recording and when you color a clip it overrides whatever track color you have so in that case I can select these and I can make the clip color cleared and by doing that I no longer have a specific color on a clip it's now taking whatever track color I have so that does work in your favor for whatever purpose you have for coloring you do have the ability to override your track colors with clip colors so now we have performed what's called a checkerboard edit now if you didn't finish all of those steps or and you want to just jump ahead if you go to timeline 5 you'll see that I have the exact same thing already done here and you have caught up now this is what a checkerboard edit looks like this is done like I said in all types of video projects or film projects is we split everybody up to their own tracks and now they can all be treated as individual tracks and individual voices now one of the nice things about this checkerboard edit is you can actually go in and we can zoom in and really focus on now the sound for each track and one of the things I like to do is let's move to the beginning of this section let's go ahead and move to around 2120 and let's look at another way of navigation instead of just manually dragging our play heads around a shortcut set that's used by editors all the time is your JK and L keys you just take your right hand put it on your keyboard the L key plays forward the J key plays back K we'll stop and if you put them in combination they'll move in slow motion forward or back so I can play forward scrub forward forward or back and if you hit the multiple times like the L key I go and fast forward or back so they're very useful for really scrubbing through your material and finding a particular point in your timeline in this case I am right here and we're going to move over and listen to just a few of these elements I'd like to zoom in a little bit more to the timeline and I'm going to show you another method for playback that we have and let's go back to our timeline options menu to get there and we're going to turn on fixed playhead and that's the option right there at the top it says fixed playhead it looks like a playhead with a lock click on that and what that does is it actually locks the playhead in position and now all of the clips will scroll underneath that and that's very useful when you have a long timeline so that you can really focus on what's happening so I'm gonna start playback and we're gonna listen now heydo identify the person who's gonna be emiliana Newton are you sure yes okay so you can just scrub the playhead underneath it and you can see that's how it works so it's very useful and this way you can actually start listening to your dialogue listen to that checkerboard edit and you can really hear if there's an issue you'll catch it right away and this is where you can now start focusing on little issues that are in there you can even solo those tracks as you go so that's where we use the fixed playhead I'm going to go ahead and turn that off go back to timeline options and select that we'll turn off our fixed playhead for now and we're going to work on a couple of very specific issues that we have on our clips so for example the first thing we want to do is remove this home now you're wondering where is the home it's one of these markers that we have marked here I can see it right now because it's this clip that has this giant thick signal right there if you're not sure how to find it we also had that marked in our index if you remember in the marker index we had a marker that said remove home so that's one of the things we can adjust right there I'm gonna go ahead and zoom in on that so you can see right where that position is I'll hide my index and to remove the hum and let's just play it first so you can really hear it I'm gonna actually make this clip a little louder just so you'll hear it in playback on my system yours you'll probably hear it yourself if you have your headphones on I Blake or can you hear that little hum it sounds like a background some and that's really annoying you're gonna catch that and go what is going on it's not background noise it's actually a hum that's right there contaminating my dialogue so to fix that we're gonna go over here and use one of our effects that's here in the effects library just click on the effects library to get there and we're gonna go to our D hummer effect and it does exactly what it says we're going to just take that and when you're working with our effects plugins one thing to remember is the plug-in can go on the track or it can go on a clip you can have unlimited plugins on a clip you can have up to 6 per track in this case it's only one clip in Philips track that has at home so let's just drop it right on to Philips clip and there we go I'm gonna hide my effects library move this over again just adjust as needed with your interface I don't need to see my meters that big there we go and this is what it looks like right now is this is our plugin user interface they're different for every plugin very self-explanatory and this sound that we're working with is a powerline home now I'd like to make it so we can listen to this over and over so we're going to go back to our range selection tool and when you get the range selection tool just click on that clip and it automatically sets in and out points around it so that we can focus on just that one section and I'm going to turn on looped playback as well which is this button right here next to the record button just turn that on and when your loop playback is turned on we can then loop that one section and listen to it as we're making adjustments on the plug-in let's go over here so that's for loop playback and what we're going to do is if to start the loop playback you're going to use the option key and the forward slash so that's also right here you can find it in over here this is where we'd play around and your loop playback is play it's in here somewhere which I'll find later so here we go we're gonna do our loop playback just option and forward slash this is where we can hear that section thank you and then if I want to adjust it this power line home if you're in the United States it's going to be 60 Hertz home if you are in Europe or elsewhere it's going to be a 50 Hertz home so it helps if you can find which one in this case it's 60 Hertz and then I'm going to just adjust the amount and you notice that you can see the graphics show that I'm adjusting that amount and then during playback here we're just gonna dial that down until we don't hear it in human cry oh when I think it's pretty good what if we stop playback you can also by the way switch these on and off by just clicking this bypass and by turning that off and on you can hear it with and without so I'm going to start loop playback again so that's option in the forward slash I'm leg or let's just without the hum remover this is great I can really hear that difference so that's great I'm gonna close this up let's go over to our inspector for a minute and when you're in your inspector if you have a clip selected you'll see that it will show you any of the effects that have applied to that clip here it is so if I need to make an adjustment to that I could come over here and just click on that and that way I can see what I've done and make adjustments anytime so just click the button right here that is your customising button right there and that will allow you to open up the interface again now one other thing we can do which is kind of nice is if you want to see what it looks like because you notice it still looks like there's an issue with this clip if you want to I'm going to go back to my arrow tool for a moment is when you select a clip one of the options you have is you can just listen to it and you can see that the hood is gone but you can also right-click on that clip and you we can choose to cache the audio effects so if you have several plugins on there maybe they're their processor heavy plugins and you want to just cache those so it's then gonna play the cached version just choose cache audio effects and when I do that notice it's now showing me the exact same clip but now I don't see all that sound in there if I look over here in the inspector it shows me a little hard drive right there you'll also see it on the clip itself that shows that the effects have been but I can still open this up any time I can still make adjustments and it will automatically recache that for me so notice it shows it's gonna recache it once I finished monkeying around here I close that up you notice that it's just recast it for me so you can still change as much as you want to this just really helps your processing in this case the D Homer is not going to slow me down but if I was working with more processor intensive plugins I could definitely utilize the caching there I'm gonna hide my inspector and so we've done that we have one last thing we're going to do and that will be the end of this section and then we're gonna get into more of our dialog editing is what I want to do is we're gonna come over here and we need to look at our index one more time the last thing we had here was replace dialogue with another take and this comes up all the time so let's go ahead and now that we've seen this let's go to that marker this is what it's pointing to we're gonna hide my index and I'm gonna zoom in on this section you should be pretty good at zooming by now and let's focus on this particular clip right here and I'm just gonna play this and let's listen you died okay so he says you died and this is a very serious moment this is probably one of the most important lines of the entire scene and if you notice there's a little creek in there it's right in the middle of its dialogue it's not something I can really deal with and it's can it's messing up the entire take and it's one of those things you could spend some time trying to fix that but it's better to just go in and find the exact same words from another take and we'll replace them right here and that's what we're going to do so let's do this together first thing we'll do is I'm going to move my playhead to the end of that take right here and I'm going to get my range selection tool which you don't have to use but I'm going to show you a few features that are built into the Fairlight pages are very useful go ahead and mark with my range selection tool I'm going to mark an out point right there just oh four out is all I need we're going to come over here to the media pool and we're gonna go find that clip and if you spill open the master bin list you're going to come down and you'll find a section in here for Hyperlight audio where it says files for repair and replace that's what you want and inside of there we'll look at them in icon view it's the only clip that has video you'll be able to find it really easy there it is I've already kind of moved the playhead to the spot we want remember your JKL shortcuts you can use those here to listen you died to the tape and you can also zoom in more right here in this preview player you can come over here it's at 10x right now but you can also go to let's say 30 times size if you really want to look at your waveform a little bit better and here's that clip I'm using JK now and I'm gonna go ahead mark an endpoint and Mark it out there I've marked it in and out they don't have to be exact we can fix that once we get in here into the timeline I just want to make sure that I have that marked so now that it's marked what we're gonna do is we're gonna just drag this clip over to the timeline instead of placing it on Philips track I'm actually going to put it on emiliana Strack because it's empty right now and that way it can compare the two waveforms so let's go ahead and grab that here and we're just going to drag it over and stick it and notice what it does because I had those out in and out points marked it's actually showing you the range of what it is I'm bringing in I'm just gonna line it up over top of that clip anywhere and release and now I have it sitting on top of the other let's go to our arrow tool and I'm going to raise the volume level one of the best ways to match your dialogue is make sure they're it's similar dialogue volume levels so that they will sound similar and put my playhead over this and zoom in a little bit I can also hide the media pool we don't need that right now so now we have a pretty focused view here and we can drag this back and forth easily to try to line up these waveforms which is pretty good one of the other things we can do is we can nudge and if you ever want to nudge that's just using your comment in period keys and that lose a frame at a time or again you can just drag to where you need it to go now we're going to take this one step further and we're going to go to a different editing mode and we're going to come up here let's go to our timeline menu and we're going to choose layered audio editing and the reason we're going to do layered audio editing is this allows you to do audio layers even when you're editing your Clips together and this is very useful because then you can put a clip on top of another and see them both at the same time to compare the waveforms so let's turn on layered audio editing and watch what happens and by the way right now this clip is orange because it's in Emilia honest track which is Orange let's right-click this and change the clip color to green and the reason I want to do that is otherwise when I drop it into the other track it's just going to turn yellow and I want to be able to see both waveforms at the same time adjust your zoom level as much as you need to to really be able to see the different waveforms and now I'm going to drag this down into the other track and watch what happens when I do that you see that I can see both waveforms at the same time and later to audio mode you can always see a transparent image which allows me to totally line up those waveforms and if you're wondering what my goal is I'm looking at the consonant sounds the wave patterns because I'm thinking these constant sounds where he starts the next word will see the lip movement that will match that and so that's why we want to make sure we line those up so I think I've got this pretty good if I'm not sure you can always click and start dragging again and in layers mode you'll be able to see that and I think this is probably going to sound great so let's move back over here and play it you died looks good to me so we just replaced one word that was unusable with another line of dialogue from a different take and as you can see we utilize the different tools that the Fairlight page has to offer to really make that work great so let's save your work if you haven't done that and what we're going to do is we're going to this is the end of part 1 of this tutorial we really get our hands on the different parts of the interface and just adding some tracks and making things work in part two we're going to go and take our dialogue editing a little further we're going to work on balancing our levels we're also going to look at some other features for mixing a little bit of sound design and finishing up our project so join me in part two hopefully you enjoy part one and step through on your own if you haven't done that so far thank you

Channel: Blackmagic Design

Views: 160,595

Keywords:

Id: H9_t4jV72HQ

Length: 71min 50sec (4310 seconds)

Published: Wed Dec 19 2018