[MUSIC PLAYING] So here we have our
editing timeline. Let's begin with V1 and
we'll work our way up. So here, we have video layers
one, two, three, and four. These are the workhorse layers
where most of the picture editing will be happening. This is where you'll be
adding all your footage to craft the scene. You'll also be
using these layers for adding simple effects
from your editing software. That might include
picture resizes. Keyed effects. Wipes. Fades. Dissolves. And on and on. Moving up, we've got V5. If your project contains
any more complex, externally created graphics
or visual effects-- they'll go here. That includes things like
green screens, rotoscoping, digital characters, and more. Generally, if you've got
another team member or company responsible for supplying
these premade visuals, assign them all to this track. On V6, we've got our temporary
color correction and grading. You'll use this track
to apply adjustments to all the video
tracks beneath it. For example, you
might want to add a large correction or a grade
across a large group of shots. Or you might just need
to apply an exposure fix to only a handful of shots. This track is where
you'll do all of that. So V7-- this is where
we'll add our matte. Whether you're working in 16
by 9, 1.85, 2.35, or any number of other aspect ratios-- it's a good idea to add a true
black matte across the footage. This is going to give a more
consistent viewing experience for you and your
client, director, test audience-- what have you. Now above V7, this
is where we've got visuals that you
might want to turn on and off for various reasons. By placing this content
above our matte layer, we can simply
monitor below if we don't wish to view or export
what's on these tracks. So what is on these tracks? Well, on v8, we've
got subtitles. This is where you'll typically
add text from your editing software to caption any
sections of footage, either spoken in a language
foreign to your audience or that might be difficult
to understand in an interview or documentary format. And finally, on V9, we've
got a layer of titles with information about our
various visual effects. That includes shot
numbers, version numbers, and any other information you
and your team use for tracking. Of course, this
layer only applies if you're using visual effects. The higher we go up through
our layers of video tracks, the less likely it is
you'll need to use them. On complex projects with
larger teams and high-end DFX, you'll use them all. On simpler projects-- possibly,
even those being cut from final color-corrected footage-- you might only use
tracks V1 through V4. Whichever scenario
you find yourself in, these nine video layers
will cover all your bases. [MUSIC PLAYING] Now, let's take a look
at our audio tracks. So first, a word about
track order, here. The tracks are arranged from
top to bottom in the order you'll be cutting them. You'll be cutting dialogue,
first, as you structure out your scene. Then you'll build out
some of your sound effects and your ambience. And then finally,
you'll add music-- temp or otherwise-- if
the scene requires it. So starting with A1 through A3-- we've got three tracks
of mono dialogue. Why mono, you ask? Or maybe you don't, but
I'll tell you anyway. Dialogue is almost
always recorded mono to eliminate any potential
problems that might arise from a stereo recording. Dialog recorded in stereo
is asking for trouble, as you'll be open to problems
related to phase issues-- like this. Interference-- like this. And incredibly distracting
sound placement of the voice, as it could potentially waver
right and left depending on the exact microphone
location on the set. Dialog and other simple
effects-- like Foley-- will typically be sent
to the center channel. If you need to simulate
any subtle effects that are typically afforded
by stereo audio, you can add these
later in the mix. Most commonly, that will
include a bit of reverb to help simulate an environment
and realistically place a voice in the correct
three dimensional space. On audio track four, you
can use this real estate for additional
dialogue or narration if your project has it. Moving down to audio
tracks five through eight. On these tracks, you'll add
your mono sound effects. Use these tracks for
simple sound effects that don't benefit from
a stereo recording. That includes mostly Foley
and other simple effects, like a door slamming shut, a
dog barking, a tire screech-- you get the point. Below these effects, you've got
four more effects tracks, on A9 through A12. So what's the difference between
these and the previous four? These tracks should be reserved
for your stereo sound effects and your stereo ambience coming
in with your production audio. Also, use these to add your
own third-party stereo sound effects, like room tone,
ambience, or sound design that you're adding to the cut. Remember, if your software
can take both stereo and mono audio on the same type of track,
all these sound effects tracks can be either one. You'll basically just have
eight effects tracks in a row. But if you're using
something like AVID and you need your track type
to match the mono or stereo sound specifically
that's being added to it, make sure these are either
added as for stereo tracks or for mono pairs-- whichever matches the format
of your production audio, So now that we have a home
for all of our sound effects, it's time for music. You'll want to reserve tracks
A13 and A14 for stereo music. If your scene
doesn't have music, these will just remain blank. And finally, the
last three tracks at the bottom of our
timeline are A15 through A17. These are also stereo tracks. And their job is to hold
the stems that you receive from the sound department. As your cut progresses,
you'll likely be collaborating with a dialogue
editor, a sound designer, and either a music
editor or a composer. As you receive new
and shiny cleaned up versions of these
elements of your mix, you add each stem
here, at the bottom. One for dialogue, one for
effects, and one for music. For example-- once you receive
your cleaned up dialogue stem, you'll add it on A15. And then you'll mute
tracks A1 through A4, containing your
rough dialogue edit. The same with your
sound effects. On A16, you'll mute
A5 through A12. And, of course, your music
stem will live on A17. And you'll mute your rough
music edits on A13 and A14. [MUSIC PLAYING] Hey, there. For tons more free
editing training, head over to our website at
filmeditingpro.com/freetraining. Here, you can download
free editing guides, along with high quality
video training courses created by our team of
professional Hollywood editors. Our tutorials cover a wide
range of editing topics, like cutting awesome
movie trailers. Editing action scenes. How to work with music
and sound design. And a lot more. All of these free guides
and videos are available at
filmeditingpro.com/freetraining. I'll see you next time.
