DaVinci Resolve 17 Fairlight Training - Introduction to Audio

hi i'm mary and today i'm going to show you the fairlight page in davinci resolve 17. so let's get started here on the fairlight page you'll see running across the top i'll mute my playback and you will see these are our meters where you can check out the monitoring panel you can see your control room levels your loudness and you can even see a viewer of your playback as you're working across the right side you will see your mixer which will always show you all of your channel strips and your main outputs and then in the middle this is the timeline and this is where you'll have all of your tracks and your clips and this is where you can do a lot of your work now right now i only have a single clip in here and this is actually the finished stereo mix from a short film called hyperlite and as i play this back you'll notice that just using the space bar will start and stop your playback as you would with most applications i'll go ahead and unmute that other things you might want to do for navigation you'll see right here in the middle let me zoom in so you can see that a little better these are transport controls so you have your play and stop if you wanted to use those instead you would have them just as you would expect and we also have shortcuts that you can use for navigation as well so you can go to the home position by just pressing the home key will always take you to the first frame and the end key will take you to the last frame of your clip so that's really easy navigation as well a couple of things to think about as you're working on the fairlight page is if you select a track you'll notice that the clip beneath the track will always highlight that shows you which track which clip you're working with and that comes in really handy when you start doing some editing and things like that so one of the things you always want to pay attention to is where is your playhead and what happens to be selected and luckily there's a lot of visual clues to help you figure that out as you go so if you look over here like i said i've got this track selected and i can tell the clip has been selected underneath it if i deselect the track the clip is still beneath the playhead and i can just find where the playhead is that way as well also if i manually select a clip which i'll do it right now you'll notice it gets a red outline and what that shows you is this clip is also selected so there's several different ways that you can tell which things have been selected at any time or if i click in an empty space it's deselected now which clips are selected or which tracks are selected come in really handy when you start doing using shortcuts and also doing editing cut copy paste that sort of things it's very important to know where you are and what happens to be selected and i'll bring that up again when we get closer to it now one other thing that we should do as you're getting to know the interface is how to zoom and move yourself around manually so if i wanted to i could just drag my playhead across the clips as you can see and when i do that i can hear it that's scrubbing back and forth just by dragging i can also click anywhere in this ruler to move my playhead to that position whenever i move my playhead to a position you'll notice that the timecode in upper left will update to show me exactly what the timecode is at the point where my playhead is as you can see and you can even change this ruler if you need to work in different increments and all you need to do for that is just right click in this time code display area and you can choose to include subframes or even samples if you like and if you're working in only samples or if you're working in film and you need to show feet and frames you can also do that here just go down to where it says you know feet in frames and now i'm looking at it that way i'm going to switch it back just to standard just by using the right click right mouse button i can go back and change that now contextual menus are really handy when you're working in the fairly page and any of the pages in davinci resolve so you will see me mentioning that quite a bit where i talk about right clicking and that's just to bring up those contextual menus which you'll see depending on where i click i'm going to get a different menu and different options and so that's just another way to access different things as you go i'm going to deselect this track right now and just press the home key to move to the beginning and again end key to get to the end so that is just the very basics of working with one clip now let's take this a little bit further obviously if we were to play through this you'll hear that this is the entire mix of this scene but i'm going to switch to a different timeline and in order to do that we have several ways you could you could go to this shortcut menu right here and if i click on this this will give me a list of some of my different recent timelines that i've worked with another option that you have is we could go to the media pool and the media pool is where you can access all of your media as the name suggests and also your timelines i happen to have a bin right here and this is the list of all the different timelines that we'll be using for this tutorial so right now we were just in the starting timeline which was a single clip let's fast forward to take our scene a little bit further and i'm going to show you the stems so go ahead to the next timeline and i'm going to hide my media pool again and in this timeline the difference is this has broken up the soundtrack into its constituent parts these are your stems because every soundtrack all comes down to three elements you have your whenever you're working your soundtrack you have your dialogue you have your music and you have your sound effects and all three of those things need to be separated so that you can deliver those because that's part of your deliverables but also for localization to other languages they may need to change the music or most likely change the language and so being able to pull those elements out is an important part of the mixing process and so just this is just an introduction to how those stems work and it's also an opportunity to show you a few of the other features for working with your sound so i'm going to come back into my scene right here and i'm just going to hit shift z which is a default shortcut which will zoom all of your tracks so that they fit the window as you can see horizontally which is nice now i'm going to talk about selective playback for a minute because when it comes to selective playback right now i have my stereo mix which is up at the top plus the vo stem and that is my voice stem or dialogue i have my sfx which is my sound effects stem and then the music stem down below and it's those three parts that are really um combined to create our mix so if the thing is if i start playback right now just by starting playback you'll notice that i'm hearing all of them at the same time and that's not exactly what i want if i only want to hear one of those tracks just press right here this is the solo button and that will isolate that track so it's the only one that we hear during playback and now we're hearing the actual stereo mix now one of the things you'll notice as we see this let me stop that for a second i'm also going to dim my playback so it's not quite as loud over here in the top right you'll notice that we have these monitoring controls and what those do is those are your listening levels so i can instantly mute or i can adjust the levels and i can also dim let me just zoom in on that so you can see that a little bit better and as you can see there's my dim that will knock it down by 15 decibels and you'll notice that it turns yellow to show me that it has been dimmed anytime i press that again it will put it back to whatever listening level i had before so again dimming the levels or you can also mute but that's your entire playback and in this case i just want to solo this one track and i wouldn't mind making this a little bit bigger and when it comes to making your tracks a little bit taller you can just manually grab one track and make that larger or smaller as you can see if a track is selected you can also zoom horizontally on that or vertically very easily right here is the vertical zoom slider and as you can see i can make this larger or smaller you know that's basically changing the height and when it's selected it makes it really easy to see that waveform inside of that particular track so these are just kind of getting to know the interface a little bit now something else you'll notice that if i deselect the track that there is actually an outline on that waveform and that is one of our timeline view options that would be right up here and this is just lets you choose different ways to view things so as you notice that if i click on that menu this will give me a few other options that i can choose for example this turns that border on and off so i can choose to include the border or i could turn that off at any time i'll actually turn it off right now and there's some other things that i will also show you as we go through this tutorial so anytime you want to close that menu just click off of it and it'll go away and again that was the timeline options timeline view options menu which is right next to your vertical and horizontal sliders so let me zoom back out and so as you can see now i can see my waveforms without the outline and i could play those through so this is my stereo mix and we have the solo button as i mentioned but we also have mute as you can see you know everybody's familiar with mute and so if at any time i don't want to hear a track i can also click those to mute all of the other tracks or we can also swipe those by just swiping across the mute buttons or the solo buttons so during playback at any time i can choose which elements i want to listen to and i'm going to do that right now so i'm going to turn off my dim i'm going to start early on and i'll start by just listening to the stereo mix and i will mute these notice i just swipe those on i can start playback and i can switch that off and just listen to my voice this would be just the voice over track i need this one if i solo this everything else goes off and now i only hear the dialogue are you sure positive do it so you can slowly decide which things you want at any time and so that's just giving you control of your playback so again just a nice way to not only understand the different elements that go to make up the soundtrack but also ways that you can isolate which things you want to listen to at any given time so that would be looking at your different stems and it's always helpful when you're learning the mixing process and you're working on different tracks is to understand you know listen to just the sound effects or listen to just the dialogue and kind of feel how they all work together let's go on to the next timeline we're going to kind of take this to the next step and i want to show you some another thing that we really have to work with to get to the final soundtrack which you were listening to those final stems is we actually have to start with our production dialogue so let's go over to before and after dialogue because this will give you a nice idea of where we started so if you look this is the exact same scene but this the sound we're listening to now this is the actual um the raw footage and as you can see this is going to be the scene without any embellishments none of the extra work has been done this is just how it was on the set i'm going to actually zoom in a little bit so we can see this a little bit better this section just using my horizontal zoom now one of the things to think about when you're using your horizontal zoom is it's always going to be based on the playhead position so my play is at the beginning so it's zooming around that spot and if i were to play a little bit of this where am i you'll hear this just that's the talking and in this scene we have emiliana who is our main character and then she has a talking computer because as you know in space all computers talk and there's a talking computer that is um helps them out and that is ada so she is a second character right now this is um the production sound and so what you're hearing is someone feeding the lines for ada which will then be replaced later on and in fact we'll be doing some work with the ada voice and some of that incarnation in a few minutes so but what you'll hear is just the way it was recorded and the different voice that was feeding those lines so his power reserves are critical once his existence runs out he will die so as you can see not the most exciting thing but the editors had enough footage and sound to be able to cut the scene together and move on to audio post i'm going to zoom out a little bit here and i'm going to move to the next section so what we have next so you can see kind of this before and after and get a feel for how this works is the next shot down is this is going to be the scene so we went from the footage without all of the visual effects to now the visual effects have been done and this is what the sound um the finished sound same scene or an orbit of planet q-465b what about philip phillips cryopod has lost power now one of the things you can do now with davinci resolve 17 is at any time you can just press the p key or instead of pressing p if you'd rather you can come over here to the workspace menu and go down to where it says fairlight viewer and this is where you can make undock your viewer if you would like or you can go up to the viewer mode and choose cinema preview right here the cinema viewer and that would be command f if you're on a mac or control f if you happen to be on a pc and so what that will do is it'll give you that full screen preview so you can actually watch and listen at the same time it's critical and that's just a single keystroke to get you to that okay also by looking at our monitor i can click the button in the lower right corner of the viewer and i can just break this out as a floating viewer at any time i can move it if i have a second monitor i can move it over to that and i can resize as well so that gives you a nice visual that you can work with as you go go ahead and dock that again and if you want to dock it at any time you just click the button in the top right of your viewer and it goes right back now so you can hear this is the finished sound and then of course at the end i have both together so you can kind of do a little bit of a comparison now one of the nice things about that you might have noticed is this drone sound in the background the drone is like the all-purpose filler some sort of sound that just kind of helped cover up a lot of the issues that may be going on with your soundtrack until you get to the point where you've done all the work so when for starters it's very common to have you know the editorial department will put in some kind of drone sound or background sounds or anything they can to kind of get us to that point so that's just helping sell the sound but um you know one of the things is you know where do you get those sounds and how do you make those work and if you're used to working with davinci resolve for editing then you may be comfortable with just doing basic you know video and audio editing but over here on the fairlight page we have a couple of features that only work on this page and i'll show you right now how you can bring in some additional clips if you want to and a couple of options you have and let's just use this drone as the example so over in the media pool and as you can see i still have my media pool showing is instead of looking at the timelines what i'm going to look at is the drone sounds and over here i have a bin with a variety of drone sounds now when you want to listen to any of these clips we have a preview player right here up at the top and so if i were to select this is ambient space drone number three if i select that and start playing you'll hear that's the sound of that drone it's kind of a low you know ambient space drone i have a couple of different options here then there's also a few of them that have a little bit of a musical element to them that's too much for this scene but might be useful for something else so we have a variety of drones here to go through there's a suspenseful drone again maybe a little bit too much now you notice all i'm doing is selecting whichever one i want to work with and then just hitting the space bar to play of course over here in the preview player you also have if you look we also have our play button let me just change my framing here there we go you can see we have our play button and we also have stop as well if needed and so one of the things you also have is the ability to change the way you view that waveform in here so you can actually zoom out to maybe there's one percent where i see more of the waveform or i can zoom much further in if i need to see more detail while you're looking at the preview player one of the details you need to know is this bar running across the bottom that always represents the entire clip so this is similar to what you might see in the cut page where we have the upper timeline that always shows the entire timeline well in this case this bar here this is our scrubber bar shows the entire clip so that would be the first frame and that's the last frame so wherever i happen to go i always know where i am i'm not going to worry about this waveform up here because that may not show me exactly where i am depending on what i'm my zoom level at that time now if we wanted to edit a few of these drone sounds in i just want to point something out let's say we wanted to select three of them three or four of them let's say we want drone one if i or drone two if i just want to drag that to the timeline i could just grab it drag it into the timeline i can put it into the track a track that's already existing or i could put it into a track below my tracks and it will automatically make as you can see a new track right there for me to work with which is pretty cool i'm going to actually undo that now command z and just do an undo and instead of bringing in one i'd like to bring in several at one time so i want to change my the height here to give myself a little more real estate to look at i could use this vertical zoom as you can see but another thing we have is we have a lot of functionality with a three button mouse and so what i'm going to do instead is hold the shift key and just use that middle mouse wheel and as you can see shift and the middle mouse wheel will also do my vertical zoom which is helpful all right so if i want to bring in a few of these drones at once is let's say i want to get the first one let's say drone to bed plus i also want to get the low drone number one and let's do let's get another one let's do the space ambient drone that sounds fun and so that gives me three different drone sounds that i can work with so if i want to bring those in now if i manually drag them to an empty space it will put all three next to each other in the same track and i'm going to hit shift z and as you can see there are all three of those now in the timeline ready to work with but something that you can do here on the fairlight page that's a little bit different i'm going to undo that just command z and by the way if you ever want to undo that's up here in the edit menu there it is undo we even have an undo history in case you want to look at all the different changes you've made and pick and choose what you want to do from that history so the difference is i still have these selected and again i'm just selecting one command selecting or control selecting if you're on a pc the different ones that i want to work with there's my three and as i drag them over instead of dropping them into one track if you hold the command key it will create new tracks for you for all of the clips and if i release notice that it just made me new tracks automatically and each of them is now separated and ready to work with that way so this is just a really useful way to grab a whole handful of clips that you know you want to work with and start building into your sound design or your sound effects or whatever it is you can just drag them all in and by holding command or control if you're on a mac or pc it will put them all individually on different tracks i'm going to go ahead and undo that for now but that's worth noting and so that you know was the main thing with this particular timeline was kind of showing you the evolution of the dialogue now let's break this down a little further i'm going back to the media pool timelines and let's go in now to look at dialog editing so now it's our turn okay so seeing what we're trying to do now let's actually look at what the workflow might be and how you would do it right here in the fairlight page first thing i want to do is hide the media pool and this is the scene as k as it came from editorial i'm going to hit shift z to fit that to the window and one of the things you'll notice across the bottom is there's that drone again right it's you're going to find that quite a bit so if this is the scene let's see what we actually have to work with and one of the things is i don't really need all of this these extra things here at the moment i don't need my mixer right now so i can hide that by just clicking this mixer across the top you'll notice there's our toolbar if i just click on mixer i can show and hide it anytime same thing with our meters i'm just going to hide those as well but i wanted to see the viewer so let's go back bring the meters up and just click at the bottom so that we can bring out the viewer and then hide the meters and that way i have them just like that i can make this a little bit smaller if i wanted to and then i have you know the workspace or the setup that i want to use at this moment okay again i can makes adjustments as needed so here's my scene and across the top all of the dialogue and then we have this ada test voice now i will tell you that this ada test voice who was supposed to be a computer was actually made by a computer which is great from an editorial standpoint to give you some timing but obviously for licensing purposes and copyright and all of that not such a good idea so this will need to be re-recorded and replaced and that's something we're going to do in just a minute as replace it with another recording so let me just play a little bit of this scene right here i'm going to start at this spot just start playback aydah identify the person in front of me emiliano newton are you sure yes you hear that voice so that's great that computer voice but again that computer voice is not one we can actually use it was helpful for working with this so i'm going to show you a few other features for how we can bring in another clip we'll make ourselves a track and then also i want to hide this we're going to mute that and hide it so first thing is i'm just going to go to the beginning of the timeline and i'd like to make another track for a different piece of voice over so let's go to the media pool and find that piece of voice over and it's inside of the bin over here called voiceover and i have two one is the test which is going to be the computer voice it appears to be powered down that we can't use and then i have this scratch vo philip meda which is one that was recorded right here in fairlight and that's the one that we're going to use for now and then we'll process it and make some changes to it so let's bring that into the timeline now i could choose an exact spot for it or we could drag it into the timeline i'm going to have us actually create a track so just right click anywhere in this in the track headers and anytime you right click there you can choose to add a track or add tracks in this case i'm just going to add a single track a mono track here we go and it showed up at the bottom so anytime you want to name a track all you do is just double click on the header in the name field and then you can type it so in this case ada scratch vo there we go and this is where i'm going to place that sound now over here i'm going to take it and i just want to stick it somewhere in that timeline in that track so just grab the clip and drag it in you'll get the entire clip there it is okay so that's a start and i no longer need to be in my media pool so again hide it it's always nice to keep as much real estate as you can when you need it also i don't even need the viewer right now so let's go ahead and hide that let's save save our space for what we need and in fact speaking of hiding things i don't really need much of anything what we're really doing is we're going to chop this up this voice over into individual pieces and we are going to use it and put it in a position to replace these other clips so one of the things to think about when you're doing your dialogue editing is what is the most efficient way to get in there and perform edits without having to overly mouse and drag and think about it it should be very fluid and fast because you could be performing thousands of edits at a time as you're going through and doing your dialogue editing so we're going to do all of that here in a very short amount of time and i'll show you the fairlight way of doing it using the same editing shortcuts that you might use on a word processor for cut copy and paste you would do the exact same things right here the important thing is paying attention to how you have your selection and your navigation which i'll be showing you as well so one of the things i noticed though is this came in from editorials you notice that there's been some key frames applied i noticed that there's a little effects it says right see right here there's a badge that shows that there's an effect on this and one of the things i need to do is actually wipe off anything that anyone else may have done to these clips so we're starting with them fresh right we want them to hear how they were actually recorded so we'll know what we can what we need to improve and that we'll be making those decisions so for all of those assistant editors who spend a lot of time making this sound great thank you and now we want to just remove all of those attributes that are on those clips so to do that it's very simple just gonna we're still using our arrow tool we've been in the same tool all along just click here at the beginning and just drag straight across all the way to the end and what i've done is i've just selected all of the clips in that track okay by doing that i can then remove the attributes on all of those selected clips with a right click okay so i go over here to the right click and choose remove attributes now what makes remove attributes there it is remove attributes when you bring that up you're going to get a separate window okay there it is and the remove attributes window here you will see you can choose to remove volume i can remove plugins or eq i'm just going to remove everything by checking that box click apply and now all of these are back to whatever they originally were there's been no changes applied and that's exactly what i need for this particular functionality so now we're starting from scratch we can also remove the attributes on this these middle clips as well just in case there's any applied to them just set those as well and now we're starting from scratch the drone i'm not so worried about we can leave that as is okay and then the next thing i want to do is we know we do not need this voice but we want i would like to set some markers to use for navigation to match up with those ada voice clips in the test track and so i'm going to show you a little trick to kind of make it easier to navigate you can see that using the up and down arrows will let you automatically navigate from clip to clip as you can see and i can easily do that and it will look at every single clip and it will move me one at a time up and down the timeline one clip at a time well if i eliminate all of the other clips except for the ones i want then it will make it even easier for me and so what we'll do is let's bring up our index which is right here this is a different window we haven't looked at or a different panel and if you bring up the index the index is like an interactive list but it's much more exciting that it actually is very useful when we're going in and out of that index often sometimes for markers sometimes to work with our tracks and in this case once you show the index i want you to look at the tracks index and here you'll see a list of all your tracks it also shows your buses as well and over here you'll see the visibility of those tracks so any track that i want to hide i can just turn off this visibility by clicking that little i and you notice that it disappears from the timeline it also disappears from the mixer but guess what it's still there it's just hidden at this moment now when you hide the visibility it does not actually mute it or solo it it's just hiding it so if you actually don't want to hear it you could also mute it at the same time in this case i just want to hide that i also would like to hide the drone and so now i only have these clips showing that's pretty easy and by the way the tracks index is also where you can move tracks around if you like as well so in fact let's move a track let's take our scratch vo i'm going to bring back that drone for just a minute and let's take this scratch vo and just grab just click anywhere on that bar right there and i just want to move it up so it's above the drone track and as you can see i just reordered those tracks by using the index now hiding things let's hide that drone and so now the only clips i'm seeing are these five plus that last one on the end and now i can use those with my up and down arrows as you can see to quickly move up and down the timeline which is helpful right um it's even going to get better i'd like to set markers here now the markers it's just going to be a little it's like a post-it note right i could put information in it i can use the colors it's something that i can draw attention to if i'm communicating with other team members at the same time in this case i just want to press m once and that will set a marker i'm going to zoom in a little bit and the zoom shortcuts command and the equals or minus or of course i could use my horizontal zoom and in this case i've set a marker right there i'll just leave it blue for the moment and if i press the down arrow it goes to the end of that clip and then the beginning of the next clip i'll press press m again it's now marking that and so i'm just going to walk down here and quickly set markers for each of these because these markers will give us something we can navigate to easily for when we start placing those other clips so i'm just using that as a guide plus it's always nice to know how to set markers now any of these markers you can also add information you can double click them you can add colors or change the colors and give them names and so on we'll work more with those later just showing that i'm going to hit shift z so now i can see all of those different markers and i can use those to navigate with now the interesting thing about markers is if you ever use hold the shift key while using your up and down arrows that's going to let you walk up and down the timeline from marker to marker no matter how many tracks you have no matter how many clips your navigation will now only focus on the markers if you're holding the shift key and so that's very useful as well now what are we going to do with this clip well it's time for us to look at using another tool i'd like to actually dice this up into smaller pieces and then move them so that's a good opportunity for us to just see how that works and how the tools work here in the fairlight page now if you're familiar with the edit page maybe you grab a blade tool and do things or using shortcuts here we can do that as well but we'll use our playhead kind of as a guide as we go and something else we're going to leverage is we're going to click and make sure we select that track because by selecting the track option and the middle mouse wheel will zoom horizontally and shift in the middle mouse wheel will zoom vertically and as you can see i'm able to make this nice and big so i can really see it and i want to dice this up while i'm playing it which is a little exciting right so i could go in there and manually um let me go back to the beginning i could go in there manually and just grab the scissor tool or it's the razor is what it really is if i grab that razor tool it's going to cut whatever i have selected at the play head position well instead of using that we could use a shortcut and the shortcut is command b for blade and so as long as this is selected it will only cut that particular clip now if i had other clips in the timeline i'm going to bring back my drone for just a minute so you can see if i don't have anything selected and i press command b do you notice that it's going to slice everything so that's going to split every single clip beneath the playhead which is not what i want so command z to undo that i'm going to go back to the beginning and that's where i was saying track selection actually does matter and as you can see we just did that so i'm back at the beginning and my track is selected which automatically selects the clip beneath our playhead on the selected track which is great and then as i play i'm just going to hit command b every time i pass one of these phrases and that will chop it up and i can do that right on the fly and so that's what i'm going to do right now so emiliana newton yes split i'm just hitting command b phillip i cannot explain this discrepancy earth date there you go and so right there on the fly i could do that very quickly and now i can move these into position as needed to those markers and so a lot of different ways that we could have split those up this just happened to be one of them but like i said it's very easy to work with these things on the fly i'm gonna hide that drone track again because i don't need it and then if i want to snap these into position i could just drag them over to those marker positions if i wanted to let me zoom out a little bit more and like you see there's that last marker and that's where i want this clip to go so i'll just move this over there it's in position just using those markers as a guide so that i could have all of my other tracks showing and it will not interfere with me placing these tracks because or these different clips in the track and again we can manually drag these clips wherever we need them to go from one marker to the next um keep in mind as you zoom horizontally it's always looking at what your where your playhead is not what happens to be selected so i'd like to go ahead and take this clip here and zoom in a little bit i'm going to select that clip and i want to move it into position so i can just manually drag that to a marker and line these up and of course i have the other clips as a guide as well you can even cut copy and paste these into position as well so for example i might as well show you how to do cut and paste is if i were to select this clip i could right click and choose cut there it is cut or command x on a mac control x if you're on a pc if i cut that you notice that it just cut that clip it gave me a ghost image of that clip and why would i do that because now i can just navigate to the marker and when i get there paste because any time you cut something it is remains connected in the same relationship to that playhead so any movement of the playhead the clipboard version goes with it so i have cut that clip i'm going to use shift down arrow to walk my playhead down to where i want it to go and command v to paste i'm going to go back up go back to where i was before just using my up and down arrows i'll go to the home position even notice i'm walking up and down between clips just using up and down that clip is selected ready to go command x to cut it shift down arrow to get to my marker and paste command v and so i can do this really really quickly it's just getting to know the software so again with a selected track this really works great if i don't have that track selected notice when i go over top of the clip it is not selected and therefore i have to actually physically go in there and click it so be aware selection helps and that's one of the reasons we have that this also works great on our consoles like the one behind me to show you you can use then the jog wheel or the search dial to grab your clips and move them around really fluidly just like we're doing here so command x for this last one moving it to the marker and paste and i'm going to go back to my home position command x and i'll move the last one and paste and so i was able to cut those up and put them into position just using a few of the other features that we have in the fairlight page that you may not use when you're working in picture editing um or on the edit page so now that i've put these into position i no longer need this track right as tracks i'm going to just mute that track and then let's hide it i'm going to come over here and i'm going to hide that test track right there the test voice and so now when i play this back and i'll just start back here the voice the new voice should be replacing the one that i had there before let's just test it and let's go ahead and bring up our meters so we can see identify the person in front of me emiliana newton are you sure yes okay and there it is so and by the way that voiceover recording was done just right here in fairly using a microphone so very easy to do that's a little bit of our cutting and pasting and navigation within a single track let's look at now taking it to the next step when you are working with dialog editing the other key is you need to separate every single voice to their own track right now we have two tracks one is general all-purpose dialogue which is both emiliana and philip and then we have our scratch voiceover below so one of the things we have to do is add another track let's do that right here just right click on that dialog track header and i'm going to choose add tracks plural and by doing that i can pick and choose where i want that to go and in this case i want it to go below dialog i want it to be mono because these are all mono single channel mono track so add track and there it is okay so now we have it right where we need it and that's where we're going to then move all of phillips dialogue we're going to drop it down into his own track we'll leave the top track for emiliana so in fact i'm going to go ahead and name this one there this top track is emiliana and the second one down here and by the way another trick is if i am typing in the name of one track and then i'd like to name the track below just press the tab key it'll automatically select the track name below so i can type philip then there we go so we now have the philip track and the emiliana track and so now our our job is to find all of the sound that belongs or the dialogue that belongs to philip move it to his own track and leave emiliana on her own and so very simple to do that we're going to use the exact same kind of functionality we did before with cut and paste the difference now is we're moving from track to track and whether there's two characters in a room or it's an interview between two people or if it happens to be um whatever it is an ensemble cast sitting around a dinner table all talking at once everybody gets their own track and that way you can make sure that their voices sound excellent because they're going to get their own treatment they will all be all the work that you will do will be to make that voice sound awesome so first thing i want to do is just let's just go to the beginning of this track i'm just going to press the home key and as we walk ourselves down using the up and down arrow each time we get to a clip if i need to move it i basically need to drop it down to the lower track now i no longer need to see my index let's hide that so i have a little bit more room to work and something else i'd like to do is when i'm working on this is make sure you can see your viewers so you can see who's actually talking or making any noise or voicing any of the sounds that we know that it belongs on their track now as far as the navigation goes again i'm moving up and down to get from one clip to the next and this first clip that has some sound on it let's let's start with the first one who's actually making this sound if anybody no one's actually making the sound as you can see it's basically a dolly shot for emiliana so we're just going to leave this sound with her let's go to the next shot that's philip so i think i'd like to move that down to phillips track and whenever you want to move clips between tracks is very easy navigation and i can show you right where that is if you want it's your track destinations in the timeline menu if you're down here to where it says track destinations audio you'll see very simple shortcuts for that it's going to be option right down here it's option command and the number one for the track one option command number two it's basically those two keys next to your spacebar are the ones that you'll use in order to select a specific track you'll notice that you can also do the same thing for audio tracks those same keys plus the up and down arrows will also navigate your selection deselect the track and i'll just show you if i hold down those option and command together my down arrow notice that i can move up and down between these tracks very easily and that will make it super fast when i'm cutting and pasting also because i'm using this i won't accidentally move anything out of sync because it's just a direct move it's it's mouse free movement that i'll be doing in order to get it where it needs to go so if i want to move this down i just my playhead's over the clip already just command x then i'm going to hit the shortcut option command and down arrow it's in position i'm going to paste with command v and then i'm going to go right back up and go to the next clip this one is also philip so command x down command v and back up and let's move down next clip is and by the way when you're navigating sometimes you only have to watch the entire thing but you can also move faster or slower you could use your jk and l keys which you may use in editorial you can also use those here those three keys will allow you to move forward and back using j moves back l moves forward if you hold k and l together you'll move in slow motion forward k and j together move slow motion back and of course holding k and just tapping um l and j will move a frame at a time so it's just easy navigation just in case you want to go through this a little quicker this happens to be another phillips shot this is where he actually starts talking so command x move that down command v to paste back up and i'm just going to tap my down arrow to get to that next shot i believe zoom in a little bit this is emiliano nope that's philip too so let's move that down command x down paste back up what's this one eight identifier okay so this one's actually milliana it stays where it is identify the person on the map still emiliano let's keep going ada how's that possible okay that's fill up command x down and paste back up as you can see you can just roll through these i can even do it in fast forward okay this is still philip so philip is going to need to go and i believe that quite a few of these next clips are phillip these next most of the shots except for this last one are all phillips and so one of the things we can do is we can also select them all at once if i select all of those if i drag across and select and hit command x i can grab all those at one time move them down get them to the right track and paste and so now i've just laid all those into the track and we're just to the end the last shot this is actually philip i need to select that track first cut and paste so this is just one scene but as you can see you can get pretty fast in navigating and pasting and moving things around to do your dialogues editing very quickly one of the things i'd like to do is i'm going to break this floating window out and hide my meters and i'd like to actually color these tracks to make them a little more identifiable and so you know one of the things we could do here is let's just make this top track i could make this orange and then philips track yellow but what i'm doing is right clicking on the header and then going down to the color and choosing whichever color i want okay so once you've split your dialogue one of the things you need to do then is evaluate it and see how you did and also listen to it and see how it sounds in case there's any issues this is your time to really focus on and start coming up with your hit list of things you actually have to work on or areas that you need to go in and adjust the edit or trim or areas that might need some additional help you know as you're playing and listening and trying to focus on your clips when your playhead gets to the end of the timeline what does it do philip made it it doesn't fall off the end of the world it redraws itself and just shows up on the other side which is a little bit jarring if you're trying to get into a zone and really listen to the sound and get a feel for what's going on so one of the things you can do is you can actually fix the playhead and then it will scroll underneath which works really well and so right here in the view options you'll see that your timeline view options you have something right here that's the fixed playhead and if you select that what that will do is that will now fix it so that the timeline will now scroll underneath um and let's say i want to find a particular spot and start playing but notice that you can reposition it when you want to by grabbing the playhead or you can actually move the timeline by grabbing the ruler if you want to scrub that but i'm just going to play it from here and just show you this is how i can kind of look and watch i can even put this up in my meters if i wanted to and watch it up here and focus on my dialogue tracks and listening okay the hyperlite core came out a few days ago we came out of cryo and we've been trying to fix it since it happened we went spacewalking okay and right there i noticed there's an issue so this is one of those things is as i hear it i can find it i can see it really easily and i'm going to go ahead and fix that or at least mark it and so one of the things you can do is you notice that i had changed the clip the track color a few times by just right right-clicking on the track header and when i right-click the track header i can change the color but you can also color clips and if you do a clip color that's going to take precedent over the track color so that way it will stay there and you can have both as a guide and so in this case instead of changing the entire track i'm going to change the color of this particular clip so i'm just going to right click on that this is the one that has an issue and i'm going to make it just green so it'll stand out it makes it a little bit easier for me to see that i also assuming i played through the entire scene and i've listened everything this is really something i want to work on first so i'm going to go over here and turn off my fixed playhead and i'm ready to start work here i'm going to just zoom in a little bit and i could use my mouse to zoom so you can see zoom really easily with that middle mouse wheel or i can command and use minus and equals to zoom in but this is the area that i'm having a little bit of trouble with this is where i heard that there was a problem so now i'm going to try to fix this just doing a little bit of trimming and just trying to clean it up one of the nice things about doing your cleanup is you notice that as you hover over the edges of the clip you will see that you're instead of just getting an arrow i'm now getting something that is showing me that's a trim tool and on the fairlight page if i click the end of this clip it shows me the entire thing all of the handles and as you can see i can very easily see that a word was cut off i'm able to extend that and release and now i have you know whatever was at the end of this clip plus i have the beginning wave so it's very easy for me to trim that at the end of this one there's also an issue i'll just play that so he just has a partial word there by the way did you see how i took my mouse and i walked all the way back here clicked so that i could play something again well we also have a shortcuts to be able to play again anytime you've played something you just want to play the exact same thing again it's the option to listen again or option l alt l if you're on a pc and so i'll just hit option l and it will automatically play that again like just two hours ago as many times as i want option and let me hear that now another option that we have when you want to listen to a particular area instead of just using your playhead we can also create a range and you can do that by marking in and out points or you can actually drag a range and in this case i'll drag a range using our range selection tool if i zoom in here you'll see we have a range tool and we also have an arrow tool up to now we've been only using this selection arrow tool but over here is our range tool the shortcut is r so a for the arrow tool and r for our range tool now if i select the range tool what that will do is that will allow me to select a range of anything i want to just drag across it automatically those elements are selected i can actually delete them cut copy paste that sort of thing but what else is nice is you see how it marks these in and out points here it marked a range and i can use that range for playback and to play a range if i just hit the space bar it's just going to start moving the playhead from its position wherever it happens to be but if i use option and the forward slash which is directly above that option key it will start the playback of just my range and to take that one step further if you look up here in the toolbar appear in your transport controls you will see that we have a loop button if you turn that on once that's engaged then it will loop that playback you went space walking okay and so then i can really hear what the issue happens to be now once i'm done with my range and i've set it i'll just press a to go back to my selection tool and that way i won't be doing anything or changing my range because when you create a range if i create a range and click off of that range anywhere else it erases the range so if i select a range and go back to my arrow then i click anywhere and that range does not go away until i clear it it's only in and out points is really what's there so if you want to clear those in and out points you can go up here it's in the mark menu clear in and out or option x and it'll clear those so it's just getting used to marking things and switching between two different tools i can still do my loop playback option four slash i can listen to this little area and i realize that there's something in here i need to fix and so as i look at it there's a partial word there that i don't want i'll just dial that back and it's gone okay so i can easily do that i can even add little fades here if i need to to or trim some of the breath sounds if i want to make it a little less obvious in any of these to kind of clean them up so that's just some basics as far as the dialogue editing goes i'm going to clear my range but other things that we have to worry about once we have the trim once we have adjusted this and once everything is set up and it's like okay now what what's the next step i've got everybody on their own track is the next thing you have to worry about is the levels everybody cares about the levels and we really need to make sure that all of these levels are good and you know if you need a guideline we actually have meters everywhere that are telling always the same story you want your dialogue look for the yellow yellow for dialogue in fact that's one reason i use the yellow color often in the tracks is yellow is going to be a nice solid color obviously there's more details than that but i'm going to bring up my mixer and as you can see there'll be meters across the top there's meters in the mixer and there's even meters on every single track and they're always showing you those levels and so when the levels are lower those are going to be green yellow is going to be right there near the middle which is going to be the area that you really want your dialogue to be somewhere between -10 minus 15 db and then of course if it gets a little bit too hot anything that's getting too loud that's going to start showing red a little bit you can get away with if it gets too loud obviously that's going to be too much and so i can look at these clips let's just look at emiliana's these two clips on her track i'm soloing her track let's select her track and i'm just going to zoom in on that a little bit so we can focus on these two clips right here and let's just see what those levels look like now i could play them watch your meters notice i have meters here and here and on the right and as i play those you can see that the levels are low i can mute my playback and i can scrub my playhead over that and i can still see the levels are low so how do i make those levels louder a couple of ways i can do that i can drag this bar up and down right there on the clip i can deselect that track if you want it makes it easier to see i can drag that up and down and remember if you would like to see the outline on your waveforms you can always go back in and turn that outline on if you prefer to see an outline on them you can easily do that that was one of those options and as i raise and lower these levels notice it's showing me how much change i'm applying right there in the tooltip as you can see and so i'm just going to raise it up but i can do that and then if i scrub over it notice that i'm still looking for it to be nice and yellow just bringing it up and now i can see that it's yellow i'm going to turn this off and play it eight identify the person i'm speaking with okay and now i can hear it and i can also see that those levels are in the yellow which is what i was looking for right and so that i did that one but now i want to show you just something else that we can um use as a guide now i mentioned the levels that you're aiming for when you're working with your dialogue it's going to be somewhere um and that the peak the average right where that sound is going to sit is going to be somewhere between minus 10 and minus 15 and decibels and that would be right here on these meters and like i said that's going to show up in the yellow i'm going to hide my i'll just resize these a little bit if i hide my monitoring panel you can see this mixer a little bit better and you can see that if i were to play this clip now watch this i want to select only that clip i'll use the range tool select that clip by clicking anywhere at the bottom of that clip bottom half and you notice it selected it and marked it so that i can do a loop playback of that clip very easily speaking option forward slash eight eight identify the person i'm speaking with eight identify the person and as you can see it's right there in the yellow and there's even these are sticky meters so you're gonna see that they have that that bar across the top is showing you your peaks but then you can also see the average level is that nice solid bit and so i've got this right where i want it to go it could even be maybe a hair lower but i'm really really close and we also have additional things that we can use for this if we'd like to help us find these levels even easier and so in addition to our meters let's add a plug-in okay we haven't added a plug-in yet let's go over to the effects library okay you've seen the media pool you've seen the index let's go to the effects library and this is where you can access all of the different effects that come with davinci resolve and in this case these are our fair light effects right here our audio effects now if you're working with davinci resolve studio and you have vsd effects or au plugins on your system you can also access those from here in this case these are all of the different plugins that come with fairlight and in this case the one i'm looking for is believe it or not a meter this is just something that's kind of handy it's not going to change or sound but it gives us something we can look at and so just take this meter and you can put your plugins on clips you can have unlimited plugins on a clip or you could put them on the entire track up to six and so at this moment we're going to put this on the emiliana track by just dragging it from the effects library there it is the meter and drag it right to her track header and release and what that gave you is a little meter as you can see now this is a sample peak program level meter and so that's going to give you the same kind of readout that what you're getting over here and this will clearly show you what the level is of this clip so if i start playing it you'll see identify the person okay it's showing me that the peak is right around minus nine speaking but the average is probably right about where i want it to be but just in case i'll take it down just a little bit i'll try it again eight identify the person i'm speaking with okay there it is so now it's peaking around minus 11. the averages are still nice and yellow eight identify the person okay so that's all working exactly the way i want it to so that's great and because i've added this plugin to a track you'll notice that here in the mixer you can see there's the plugin right there you can see it right there i can even delete this if i wanted to i don't and if i were to close this so i don't see it anymore and i want to bring it back anytime that interface i just have to come over here to the mixer and i can just click this button right there the controls and it will automatically bring that back up so very easy for me to work with that right there okay so now that um i've checked the levels on that particular clip i'm going to bring this back up let's do one more um as you can see i want to adjust this one as well and i'd go through and we'd have to adjust the levels on all of the clips but now i can kind of eyeball them and get them close identify the person on the med lab okay so both of these are right on so i'm good there done with emiliana's track and then i would move on to the next track now hers is fairly easy to work with phillips is a little bit more complicated he has a lot more going on in his tracks which is fine but you know one of the things you have to think about is also adjusting levels when some of what they're saying is quieter and some of what they're saying is louder you might need to actually have keyframes to change the level within a clip and so i could do that right here let's look at this um let's see which one of his pieces do i want to work with here he's got a couple of good ones where he you know the levels change within the clip um let's listen um to his track now i happen to have soloed emiliano's tracks i need to solo his and unsolo this one so i can hear it we came out of cryo and we've been trying to fix it okay so this is just you know basically him talking so that's kind of expected we have this one over here what's happening in this one you died okay right there he says something really important but it's very very low he says you died so i'm gonna bring that up a little bit let's listen you died okay we're gonna definitely have to bring that up a little bit but it's also very creaky there's some sounds going in there so we're going to have to deal with that let's go to the clip right after the green one here and look at that a little bit more i definitely see a lot of level differences here so one of the things i'll do is i'll just add a keyframe to that or a couple of keyframes so i can bend it so that i can make the levels different from the beginning of the clip to the end of the clip and to do that simple to add a keyframe you just hold the option key or alt key and click once so this first section is a little low two hours ago and the second second section is pretty hot so i'm going to just basically option click and add two keyframes right there in the middle as you can see option clicking adds the keyframes i can then grab the levels and make them higher lower by using those you know to alternate you know how the sound works so otherwise i'm adjusting everything so as you can see i just raised that level a bit two hours ago boom there's this explosion and it surrounded the whole ship okay and so that allows me to kind of adjust the volume and then you can also get in there and really massage those levels as much as you need to for different elements as you go if i have these little peaks right here that seem to be a little bit too loud i can also add keyframes again option clicking to add those keyframes and it doesn't matter whether the track is the clip is selected or not once i've done that i can use my arrow tool is fine and notice that i can raise or lower just that one little section by using keyframes and so that's very helpful for getting in there and massaging your levels and getting them just right your goal is to adjust the levels of the clips just like you might if you were doing color grading you want to balance each clip same thing here you want to balance each audio clip within the track so that the track stands alone when you go to do anything else with that so that's just a little bit with the balancing of the levels now let's go down and look at one other thing we have i need to turn the solo off on this track let's bring these back together and i'm going to hide my effects library for now we'll be using those again in just a minute i will clear my play range and i want to look at normalization because that's one other thing you can do it's kind of like the auto white balance of um volume levels right and instead you're basically adjusting the peak levels on a particular clip so i'm just going to go to the beginning of a distract we'll zoom in a little bit and her first clip if i want to check the levels on that one of the things i could do is just right click on that and choose normalize audio level and that lets me choose there's my sample peak program notice the default is minus 9. now why would it be minus 9 if we want all the sound to be between minus 10 and minus 15 well because 9 is just above 10 right and so if that's your peak chances are the average is going to be sitting right where you want it so 9 is a pretty safe place to start usually so i'll leave it at -9 one thing i will mention is that our normalization also includes true peak and you can also choose one of your loudness standards as well in this case we're just going to look at we're balancing our clips so we're just going to do the sample peak program and normalize and that just barely adjusted that one i'm going to randomly make these different just to show you that normalization will adjust no matter what levels those clips happen to be i'm going to select all of these clips again and this time i'm going to right click and choose normalize audio levels and because i chose more than one clip what that's going to allow me to do is i can look at them relatively and if i adjust them relatively what that's going to do is it's going to treat it as if it's one clip and whatever the loudest peak is among all those clips that's going to dictate how all of them move definitely don't want that here so i'm going to go to independent and if i choose independent and click normalize it's now going to look at each one independently and balance them out perfectly so these should all be right amelia where they need to be in the yellow good solid volume levels and i'm ready to move on you know we've done our dialogue editing we've made our adjustments and we've pretty much set this up and got everything exactly the way we need it to move on to the next step which would be a little bit more of repair sometimes we have things that we just can't fix them with what we have for example one of the things we can't fix very easily is this shot right here i will zoom in this will be the one on philips track i'll just use my mouse to zoom in and this one unfortunately is one of the most important lines of dialogue in the entire show and it is very heavily i'll bring up my meter so we can see it and if you listen you died okay he says you died but you hear all that weird creaking and stuff like that it's totally distracting and so one of the things i can do is go fishing through my other footage and find another take where he did the same thing and just replace it and in doing so i'm also going to show a few other features that we have and a couple of things are just really really awesome for as you're building your tracks up and you're trying to align things being able to overlap them and work within layers is really useful so i'll show that right now as you work let's go in and what we'll do is i need to go up to the timeline menu and i want to choose layered audio editing so up until this point we've been doing the default would be to overwrite editing which means if you drop a clip on top of another clip it's going to mark put a hole in it basically it's where the new clip is if you remove the material there's a space there where it used to be if you do layered audio editing they sit on top of each other in layers and become transparent as you drag them around so that you can actually overlap those waveforms and see them perfectly it's a great way to work so i'll show you that right now here is the clip that we need to adjust and what i'll do is i'll drop the new one on emiliano's track so we can work with it from there just to align it let's go into the media pool and i'll find the clip i want is down here where it says repair and replace and there's only one clip you'll notice i'm looking at things in list view you can also look in icon view as well and there i can see there's the scratch voiceover and i have this one right here which is the clip i want to work with it's already been marked this is the sound right here where he says you don't right okay that's what i want to do now by the way you can mark in and out points right here in the preview player by just marking i for n over out just like you would on editorial just like you can in the timeline as well so i've got this marked and i want to place it right here in the track above so i'm just going to drop it right there and then i can hide my media pool and so now i have the clip sitting right there on top roughly in the right place i'll zoom in a little bit and as you can see it's the same line you can totally tell that it's basically the same thing one sitting on top of the other now i'm going to turn off my layered audio editing for a second if i were to drag this on top great i just stuck it in that track notice it took on the track color actually i'll change the clip color now to let's go with navy just so it stands out but look what happened if i pull this back out it punched a hole in there because it was in overwrite editing our default mode so instead i'll just undo that still make it navy though that looks good there we go and i'm going to go up to we're going to just work our way right up here to the timeline and change it to layered audio editing mode and by going to layered audio editing mode now i can align it here as best i can in fact right here there's a little magnet as you can see this is our snapping magnet that icon let me just zoom in there so you can see right there it looks like a magnet i can turn that on and off anytime if i need to if i turn it off it just allows me to move things a little freer it's not going to try to snap them to markers or clips and then i'm going to drop it right down on top of the other one look at that i can absolutely see both waveforms at the exact same time and i can really line those up beautifully just like that when i release that i know those are in sync i don't have to look at those to know that i just line those up very nicely and once it's sitting there then i can always extend it make it a little bit longer if i wanted to on either side i can even add fades as you can with any clip by just dragging up at the top notice any clip you hover over you can automatically add a fade and as you can see because it's sitting on top of another clip it's actually doing a nice cross fade there to the clip beneath it if i play this you died okay you can see that it's working perfectly i'm going to back that up zoom out a little bit and i'd like to show you what the layers look like so if i go up here to the view menu i can come down to where it says show audio track layers it's in the view menu it's just a way of viewing your timeline and now you can actually see there's one clip sitting on top of the other clip inside of track layers okay they're both still there it just i never got rid of the first one it's just got a clip sitting on top of it i'll go back to the view menu and now turn that off and as i said i can extend this as much as i needed to and play it back you died okay and there it is so those are just some of the things we can do to kind of for repair a couple of other things that might come in handy for fixing up your clips so let's come over and go into the media pool back to my timelines and in list view and i'm actually going to go to a little bit further timeline these are all different progresses of progressive timelines of the things that we've been doing all along and so now i'm down to the point where i'd like to show a little bit of repair so i'm going to just double click on this particular timeline to open up and this is outside of the main scene that we were working on and here you're going to see just a couple of examples of issues that we run into where we can use our plug-ins to kind of do some repairs that you can't do with a mouse and keyboard so let's go over to the media pool and i'm going to actually hide that don't need it make this fit a little bit better this first clip has a very common issue and in fact i'm going to bring up the effects library so we can see that and the issue that we have is there's a hum in the background in fact if i play this you may or may not hear it um if you can't hear it right now i will make sure that you hear it by turning up the volume so i'm going to turn this up but i will also mark an out point on that so it's only going to play this little section i marked o for out and i'd like to zoom in on that a little bit and i'm going to turn up the volume level by just cranking that up by the way you can use shortcuts to raise and lower the volume as well if the clip happens to be selected and the shortcuts for those are in the time let's see where are they they are in the clip menu audio to increase or decrease levels if the clip is selected so in this case i just dragged that up so now it's nice and loud and you'll hear there's that power line home you can hear it that's a very common sound that you'll get if you ever plugged in an amplifier you know what that sound is that is a 60 hertz power line sound i'm just going to put that back notice that when i raise the volume of a clip by just double clicking on that volume line it does reset that level now if i want to remove that sound i'm going to add a plug-in to the clip itself i don't have to add this to the to the mixer in fact i don't even need my mixer showing and what i'm going to do is i'm going to come over here to my d hummer and just drag that right onto the clip as i mentioned you can have unlimited plugins on a clip so by just dropping that on there now let's put the d hummer right there on the clip if i select the clip now i can play that i'm just going to play that section or i can do the entire clip i'll get my range tool select the entire clip and play the whole thing the home is still there and i can see it it's a very healthy home but you notice that in our d hummer interface you will see that it has two presets one's for zoom in on that one is for 50 hertz which would be if you were in europe um and 60 hertz would be if you're in the us so depending on where you live in the world um you're going to be either 50 or 60 hertz and so we have a preset for both i'm just going to hit 60 hertz to fix that play that and it should have cleaned it up pretty quickly i can adjust the amount as needed in fact you could drag that amount all the way if you wanted to and that's going to take all of that sound out and then just kind of slowly back it off as needed and if you're wondering what are these other areas these notches that you're seeing um each of those that's what's being reduced that's the different frequencies that are being reduced and if you notice these are the harmonics you just keep multiplying the initial sound so 60 hertz so the next one be 120 and then so on that's where you're going to get those harmonics and you might need to include those as you're working with your filtering and that's why that's there they all work together to kind of achieve our goal and then once you're finished we now have dealt with that particular noise and it is better thank goodness right now one of the things that once you have added a plugin or multiple plugins to a clip if you actually want to play it back without any processing you can right click and choose to cache that audio effect notice right there you can bounce it which will actually bake it into a new clip it'll render a new clip with the effects on it or just cache and so i just clicked cache audio effect you'll notice it now shows a little drive there so and this is the clip with the plug-in cache and you can see it's much cleaner than it was before if i right click i can always uncheck the cache and then it will show it to me it's still going to sound the same either way it's just what i'm actually able to hear and and see in my waveform how it's reflecting it okay one other thing while i've got this clip selected is let's go over to the inspector because the inspector will show you information about anything that you happen to have selected and so in this case if i decel if i select this clip it's showing me information about that particular clip including the effects that have been applied to it so all you have to do is click on that effects tab and now you'll see that there's my d hummer plug-in and i can actually open up the controls for that any time by just going into the effects and i can set that up i can even turn it on and off if i wanted to from here or back on the controls i'm going to hide my inspector and as you can see this is with the camera cryo and without trying to fix it the plug-in let's go ahead and close that up and so that's the first one we finished that let's move over here the last um plug-in that i want to show you and then we're going to try one more thing and that's actually applying what we just learned on a real world project is i'm going to go down to this lower track select that clip with my range tool so it's already marked it and if i play any of this what you're going to hear is this is a very scratchy sounding track emiliano newton yes now i don't know how well you can hear it if i turn this up you're going to see there's quite a bit of noise in it but there's some kind of scratchiness to that that makes it completely unacceptable for playback i could never turn this in philip meda do you hear all that noise back there now this what we have is our noise reduction will actually help you reduce all different types of noise in this case we just want to get rid of this particular sound what's in between the dialogue and then leave the dialogue so the trick to that is i'm going to zoom in and i'm going to set a range for just part of the clip right i don't need all of it i just need some of it a place where there's noise so i just dragged a little range right there i'm going to turn this way up so i can really hear it right and now if i listen that's the noise i'm trying to avoid do you hear that there's a lot of that little crackly sound in there now obviously you shouldn't have to turn it loud to hear it but i just turned it way up to make sure that everybody heard what we're dealing with so let's use our noise reduction i'm going to come down here to the noise reduction plug-in and i'm going to drop that right on the clip now the noise reduction gives you two options for reducing noise i can hide my effects library the two options that we have for reducing noise one of them is manual mode which basically will learn a noise profile you tell it what to learn and that's what it removes sort of like using a key when you're working with images you know remove this color in this case it's removed this sound profile so to do that just make sure you're in manual mode and then i'm going to press this learn key and just play some of my noise i'll turn it up a little louder just to make sure it gets a nice profile as you can see that crackling noise you see the white is the actual sound the purple is what it's reading as the profile and so if i turn off learn that's what it's going to keep so there you go so that is the part that we have to work with and just make sure if you are playing looped playback and you have it cranked up really loud just only play loop playback option forward slash i'm going to double click on to reset those levels and now that my noise profile is there i can clear the range and let's just play that clip and it should sound pretty good emiliana newton yes philip mader so the noise is gone now if i'm doing too much if i'm taking out too much noise i can always adjust my wet dry level dry means no effect has been applied and wet means fully applied and anywhere in between is how much of the effect is going on to the clip now as you can see um one of the things that we need to look at here is i want to try the auto mode because auto sounds so easy right let's go ahead and select it and change it to now auto speech mode and now what auto speech mode will do is it will um listen automatically and it's going to find the voice and actually extract it from any other background noise and so i just switched it over to auto speech mode and as i play notice it will adjust automatically and just strip that sound out for me so sometimes you need multiple plug-ins and sometimes you can get away with just one some if something's really noisy i might need to use two noise reductions maybe i'll do a noise print first manual and then add an auto mode but that is how i can get this to work so those are two examples of some of our repair plugins just want to show you how to put some of these things together in a real world project because this is something that happens all the time so let's come over here to the different timeline i'm going to use this repairs this is a real clip from a real project i'm actually going to go to the edit page for the first time just click on the edit button and as you can see here i am on the edit page as you can see the the trip to get from editorial to audio post in davinci resolve is very fast right you click a single button i'm already there in audio post well this is what this particular clip looks like in editorial and if i were on the edit page and if i was the editor playing it this is what an editor would see in their tool set visuals look great but listen audio is not great um and most of the sound is only coming out of one speaker and obviously there's a problem but it's not very obvious from here now let's go back to the fairlight page how do you switch to fairly page of course just click the fairlight button at the bottom of your screen and now we're on the fairlight page now right away when you look at the fairly page we see all of the channels of a clip right there in the track and so as you can see this top track this is this looks like garbage this particular upper channel here is barely any sound at all it might have been a mic turned on but there's clearly no usable sound in there but it's being mixed with the good mic right plus we're in a kitchen that has refrigerators and all kinds of other things so who knows what all is creating the noise so one of the first things we can do is we can just change the channel mapping of this so that instead of this being a stereo clip with two channels let's just pare it down to the one channel we actually want channel the left channel is one the right channel that looks decent is channel two so how do you change those attributes let me go to my arrow tools um and just with your arrow tool a for arrow i'm just going to right click on that clip and choose clip attributes and when you go to clip attributes this shows me that it's stereo and it shows me both of my microphones that just happens to be this clip if it was a six channel clip it would tell me it was a six channel clip and i'd see all those channels so what i want to do is change it to mono so it's only a single channel but i don't want channel one i only want channel two there you go so by making this channel two and making it model you notice that it'll just take it a second to redraw that and now i should be able to hear this i should be able to hear it and now i'm only getting the single channel that i needed now i also want to change my audio as you can see this track is a stereo track and i really need it to be a mono track so you can at any time change what type of track you're working with too by just right clicking the track header going down to where it says change track type to mono and now my track matches my clip and the clip i can actually see it pretty well now let's listen to just the good channel and even listening to this i can tell that this is very noisy you hear all kinds of refrigerator sounds and things in the background this is pretty noisy so again let's go in and use the two tools that we have and how easy that will be to work with right so as we're looking at our repairs one of the things i'll do is take my range tool and i'll just drag a little range right here of some of that noise okay that'll work turn this up a little bit so i can really hear it don't be afraid because i just option forward slash okay that's the noise [Music] okay that's someone saying and as in so i'll just change the end point of that i marked a new endpoint [Music] oh still there so let me just find a better slice here just when in doubt make a new range okay pure noise i can hear now i also hear a really high pitched wine again i think that's a refrigerator so whenever i have both noise and some kind of home i'm going to go for the home first so i'm going to go in here to my close my media pool get my effects library now by the way you don't have to close the media pool you can have both at the same time media pool will then sit on top and the effects will sit at the bottom which is fine in this case i don't really need the media pool and i'm going to go in here and i'm just going to go down and find there's my dehumer so i'm going to hit the noise first i could apply it to the entire track or i could apply it to the clip in this case i'll just drop it right on the clip there it is here's my dehummer now this is not powerline home and again i'm listening to this by hitting option forward slash that is not powerline home that's a really high pitched whiny sound so first thing i'll do is i'm going to we could just sweep these frequencies by dragging frequency i'm also going to make the amount really high and that way i know i'll hear it when that hum goes away or that hissy sound goes away so i'm going to now walk downstream and just right there that high-pitched wine feels like it's gone okay that's what i was trying to accomplish so now that the high-pitched sound is gone i'm also going to adjust my slope a little bit because the main part of his voice the meat of his voice is going to be right in this section and i'm thinking this is a very high pitched sound it's probably right there around 400 so i'm going to change the slope just like that so this swaps the position of the harmonics with the fundamental and now i'm going to listen here and that high-pitched wine is gone i could bring this amount back a little bit if i wanted to but there so that was the first problem solved and then the second one what i need to do is i need to come in here and now we want to do that noise reduction now i don't need a range for that i'm going to just trust the noise reduction will work and drop it onto the clip also reset this and i'm going to set it to auto speech mode and just like that i'm going to hope that between the two of them hello my name is jamie and today i'm going to sound pretty great chinese so as you can see that was putting together those different tools that we i've shown you and in this case just having those repairs ready to throw in there and adjust makes a really big difference so whether it's one clip or a dialogue scene having those repair plugins ready to use is very helpful so i have one last thing to show and it's right here let's go back to the media pool hide the effects library and i'm going to show you when you can't use a plugin or when there's something that you just have to find a way to get rid of sometimes you have to go into the sample level to edit something so the last example for this overview is going to be fixing a music cue now if you've ever come across clicks and pops in your files you'll notice that it doesn't matter if it's dialogue or music or whatever it is you can't turn it in if it's got some kind of really um loud pop that's going to make all the speakers pop you know that means you have to get in there and find a way to fix it there may be some third-party plug-ins at work sometimes they do sometimes they don't but you can go in there and just dial it right out on your waveform using just your arrow tool and i'll show you how to do that right now so i've opened up this music cue and at the beginning of the music queue there is a two pop which is a single frame as you can hear that's just a one kilohertz tone one frame of that for indicating that we are at the beginning of a scene or of a show that we're using that for sync if i put my play head over that and zoom in and and continue to zoom in you'll see we can really get in there pretty far remember left and right that's one frame and look at how far i've moved into my waveform as i continue to zoom i can get all the way down to the sample level once you start seeing these little boxes you know you're looking at it at the sample level now in this case that's just a one kilohertz tone now we're going to go in there and find that issue which happens to be at this red marker so i can shift down arrow to the red marker zoom in a little bit and actually let's play it i want you to hear this i'm just going to pull this back to the beginning play this little piece of music when you hear that pop you'll see the meters flash and you'll know you're in trouble and that's what we have to fix let me just play it [Music] do you hear that that is the sound we're trying to avoid that's what we have to fix that pop that also sends your meter spiking and you've probably all heard that once before so now that you've heard it let's get rid of it put my play head on that red marker zooming in this actually only takes a few seconds believe it or not so i'm just going to come over here zoom in and continue to zoom in i just have to keep chasing it because we're zoomed in so far that we are nowhere near a frame and so what i did was i just zoomed into it until i finally got to a point notice you can redraw it a few times going in and out using your zoom shortcuts to get a space that you can actually work with that looks pretty good and so why i was doing that was this is the glitch that's what it looks like at the sample level and so if i want to dial that out i can just select right here i can select a sample just kind of move my mouse make that nice and smooth and i'll come over here and do the same thing it doesn't have to be perfect just want to align it with the ones that were there before there you go shift z i'll zoom out and that glitch is gone and if i were to play this [Music] no sign of it now just the percussion and so that is working at the sample level so thank you very much for watching this overview of the fairlight page in davinci resolve if you have any further questions you can visit the blackmagic design webpage to check it out so thank you for watching

Channel: Blackmagic Design

Views: 95,054

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Id: 5lceOriiwu8

Length: 88min 21sec (5301 seconds)

Published: Fri Jan 07 2022