How to Mix Dialogue, Music & SFX w/Essential Sound in Premiere Pro

all right looks like we are live how is everyone let's some people file in here before we get started on this lovely Monday of course could be Tuesday so good morning good afternoon good evening wherever you are in the world my name is Jason Levine and for the next hour so we're going to be talking about one of the latest features that has just come to premiere pro CC 2017 the essential sound panel hey mr. t a NGO any Philippe Alban very nice to see you hello hello Kevin Mariana all right always good to see people andris what's up that's right from Uruguay now living in Burbank very nice to see while the conductor pascal peter Ferran SAS Franck Joe a couple of names I cannot pronounce what's up for nard my own call Harry Travis Ahmed so as mentioned today we're going to talk about the essential sound panel now if you happen to catch the Prix NAB live stream I showed a lot of this with the same content we're going to go a little bit deeper today though and I'll wrap up at the end kind of showing the interchange with audition and show you some additional things that you can't do primarily this master template view and a lot of people since we introduced this around NAB have been mentioning they want to be able to change a lot of the defaults so I'm going to show you how to do that and also really kind of show you and let you hear what this can actually do and I'll make sure to mute my mic so you can hear things very cleanly if you're in headphones it will be worth it looks like we got a fantastic fantastically international audience here today route palm from India stumble from Bulgaria Gabriel from Sweden Marc from Paris Albert from Dubai Mr mell maoli from Zimbabwe very nice to see you Chris roopam Ahmed from Egypt Lafe Corrin vas team wedge David it's really great to see you all all right so let's get started shall we and yes Harry we're going to talk a little bit about some presets as well set off from Tunisia very nice to see you Vinicius from Brazil okay so let's kick it shall we but I don't know what that means let's get into it all right and this is interactive you're all you're already being extremely interactive so thank you for that and again really glad to have you here on the stream and let's talk about essential sound okay so here we are in Premiere Pro and again this is a new panel that we just introduced in the latest release if you haven't updated to Premiere Pro CC 2017 the spring version you can do that right now so everything was announced and available right after we did that lie or when we did that live stream a few weeks back and one of the first things you'll notice is that you've got a couple of new workspaces namely one called essential sound we've also got the essential graphics workspace here and you have this new panel called a central sound now the panel itself is not new many of you who've used audition in the last year this will look familiar to you so we did in fact take this tech from audition and poured it over into Premiere Pro and this was really the ideal way to do this anyway and I think the main the main takeaway here is that if you're not an audio expert this panel is really a reimagined way to mix dialogue music sound effects and ambience and to do it with very good results it's not one of these like throw on an effect and use a preset and it just kind of works sort of thing no it's a bit more intelligent than that and it also involves a lot of new machine learning technologies that we've been working on in the labs for the last couple of versions and honestly as an audio person and anyone who's watched me on any live stream knows Ida I don't joke about audio I will tell you when effects and things are not to my particular liking and I can be pretty harsh about it this is good this is really good and even if you are an audio mixer I mean yes doing things manually is awesome but a lot of this stuff just kind of gets you right there where you need to be and it does it really well and we're going to talk about that so this is a scene what we're going to focus on here from a film called see you around it's a short film directed by a guy named Orrin Brimmer you'll actually see him in the scene here talking in just a moment and this is the this is the raw timeline of all of their unmixed pre-mixed audio from this bar scene and let's just take a quick listen to this and I'm actually going to mute my mic so you can just hear it sort of cleanly and exactly what it sounds like before I do that hello from Morocco st. Croix Virgin Islands very nice pill art studio from Ukraine ganda Saudi Arabia Greece Yusef hi vassilis very nice to see you all okay so let's take a quick listen to this I'm going to mute real fast I'll make sure to unmute myself which I've forgotten to do in the past I'll keep an eye on the chat so that doesn't happen and take a quick listen here we go hi-yah hi okay great I'd like an elderberry Oh actually you don't I've been here before oh okay so as you can hear the dialogue first and foremost dialogue is kind of all over the place and this is not uncommon right so we capture dialogue whether it's on location there's actually some ADR in here as well you've got different speakers meaning different people speaking what's up Leon you've got everyone speaks differently and whether you're on you know a lav mic or a boom mic or in the case of the studio a proper you know sort of mounted condenser not all people speak the same and they don't speak with the same dynamics and they don't speak with the same loudness so the first thing you'll hear when we listen to the raw dialogue here is that it's it varies right the the girl seems to be a bit louder and a bit more consistent although she kind of gets a bit too loud in parts and then softens the guy talking at the bar that's actually the director this guy here he that's Oren Bremer he's really funny his talking he does a lot of the hi I'd like an animal so he kind of starts out loud and then gets quiet and then there were a few lines in there that she just couldn't hear at all and this guy hasn't he we haven't even gotten to him yet he hasn't had a moment to speak so part of the brilliance of essential sound is that it boils audio down into four main types that when you choose the appropriate type for the audio you're working on it then gives you all the various or commonly encountered effects and filters that you would use to treat that type of audio and you can see the four types are by zoom in here dialogue music sound effects and ambience all right tornado yes we're not wrapping up we're just starting yes and for not I will talk about reduced noise and some of those gaps that's a great question or get so we will definitely talk about that here so first what I'm going to do I'm just going to select all the dialogue now keep in mind you do not have to do multiple selections I'm just doing this to kind of showcase to you how I can start before I even begin actually mixing dialogue so one of the things that I like to do is kind of match the loudness of the dialogue and you'll notice when I select all of that now all of these audio types become illuminated so I'm going to choose and denote that these are all dialogue types and when you do that now what it does is it presents all these various things that you would typically use for dialogue including loudness matching which we're going to talk about repair which is verne are just mentioned includes reducing noise Rumble hum and even de-essing or sibilance reduction clarity which is effectively dynamics processing or adding a compressor to a voice compressor limiter and then some EQ there's even some speech enhancement here I that's neither here nor there and then you can also add some creative ambient reverb here to kind of place an actor or character or something inside the scene sometimes dialogue especially if it's ADR can be a bit too dry so this is a way that you can kind of recreate the room sound that they're in okay so all of these things are kind of offered up to you right when you choose dialogue and the first thing that we're going to talk about here is loudness Auto matching now why is this essential why is this cool well again when you start with mixed dialogue you you effectively have again everything is it's not just the peak levels right yes peak levels will always vary depending upon what people are saying it's more about the average loudness the perceived loudness of what they're saying and so what do you do when you mix dialogue traditionally well again typically in the premiere timeline or wherever you'll probably go in and adjust audio gain to kind of get everything sounding about the same we're not even touching dynamics at this point we're just trying to get those average listening levels to be about the same now this this piece has about forty some clips of dialogue here so there's a lot of time invested in doing that well with loudness Auto matching this will automatically in a single click analyze all of those dialogue clips and their loudest values in l ufs which is the new standard that we're sort of met during two we don't really use dbfs anymore particularly for broadcast we're measuring an L UF s which is loudness units relative to full-scale and it's all about that average loudness Peaks can be important but when we're trying to mix and we're trying to sort of start where everybody kind of has the same median level this is what we want to do so when I click on Auto match it analyzes everything and then you can see that it automatch t' to a target loudness of minus 23 l u FS which just happens to be the u.s. broadcast standard now you may want to change this after the fact we're going to talk a little bit about some of the things you can do there but what you'll notice is right away now when I go back and play this back again and let's start right here right where the dialogue comes in instantly you're going to hear what it did and it's such a dramatic difference because suddenly all the dialogue is kind of the same level it's in the same space and it's a it's the same starting point to where now we can begin actually refining and fixing and yes e cueing as Rob says Rob Zilla what's up all that dialogue all right so I'm gonna mute myself again so you can hear it nice and clean take a quick listen hi yeah hi I'd like to get a drink things uh okay great I'd like an elderberry mccord oh um actually we don't have that um I've been here before and I've definitely had it here so you oh okay all right so right there I mean fundamental difference so much easier to hear that everything kind of sounds about the same right level wise and this is a good starting point this is where now we can start to refine and really start treating that dialogue so that's the loudness automatch now this can also be done in an audition individually on multiple clips if you were to send all this to audition in lieu of doing that you've got a bit more options to setting and adjusting some of those loudness levels you can also auto match on the audition side to things like a peak level or an RMS loudness value so you've got a lot of options but the key here is that this is really going to allow you to get all of your audio to the same average listening level and this loudness auto matching is available in the dialogue audio type the music audio type sound effects audio type and the ambience audio type makes sense right you've got mixed music in a timeline or a vlog or a movie you know you're using jay-z and this scene and you're using Dave Brubeck in this scene and you're using a Vladimir's ro it's in this scene I was just made me like you know modern you know sort of hip-hop jazz and classical those average levels are going to be all over the place so automatch kind of makes them all the same so that all you have to do is kind of ramp things in and out accordingly all right same with sound effects if you use a lot of set do a lot of sound design I pull from lots of different libraries that I own the average loudness of those sound design samples that they're always different so this kind of automatically non-destructively makes everything approximately the same Timothy no so it's not Auto compressing and that that's just it it's not adding any any dynamics control at all it's really just adjusting audio gain but putting it then this loudness range that's not an absolute okay that's the at it's an average target loudness of minus twenty three but as you can hear it really kind of unifies everything and when we get to actually add in compression that's where we're going to go into clarity all right yes tres there might be a slight drop off at the end so this is again where we might use something like like a little bit of compression all right can I use it with direct DSLR footage sound absolutely rupam yes I mean any any audio whatsoever doubt as someone who's done a lot of DSLR sound you know quality wise there it varies so and there's often quite a bit of noise unless you're plugging in an external mic or something like that but yet can really happen okay Triss gets it bred new to audio awesome well this is this is why we're here today okay so now that we've got everything kind of in the same starting position now we can really sort of identify what does it need and typically the next step here is doing something like repair and once again this is where we can add things like noise reduction rumble reduction hum reduction and/or sibilance attenuation or getting rid of some of those really harsh s sounds which sometimes feels like it's just slicing through your ear so if we wind back and again kind of take a listen to some of this dialogue discreetly you're going to hear that there's quite a bit of there's a bit of like room Rumble and hum you know a combination of em and just some kind of like low-end uh yeah movement and if you had a subwoofer you're you'd hear a lot of this Rumble so again we've got all the dialogue so love now take a quick listen oh um actually we don't have that um I've been here before and I've definitely had it here so you have it oh okay do you really hear it on this clip - oh um actually we don't have that oh okay so now again they're in a bar so when you when you're when you're using these things he here's something to consider you don't always want to strip away everything all noise all ambience alright I'm hearing what sounds like a combination of some rumble some humming and then yes there is some background noise I don't know that that noise is necessarily a problem they are in a bar you do want it kind of a bit more lively even though again you can always fly those things back in and I'll show you that in 20 minutes or so when we get to sound design here you just have to kind of decide what it is that you want to do but the first thing that really struck me was the rumble and that that that persistent hum so with everything kind of still selected over here and again I don't have to do it across all clips you can do it one at a time you'll see that we can simply enable reduce Rumble and reduce hum and when we do that we I'm just going to first start by setting these to some values that I know are pretty good now again we just see a single slider here so it looks like this is like no Rumble reduction maximum Rumble reduction let's go about you know just about two-thirds in it's about 6.5 on Rumble and the hum I'm going to take this down now you can you can adjust these as it's playing as well it would be hard for me to do that while I'm talking and explaining so I'm just going to set these arbitrarily though and what I'm going to do is I'm going to play through it again but I'm going to enable and disable the repair switch here so I'll start with the repair switch on so you're not going to hear that Rumble and then I'm going to turn it off and suddenly you're gonna hear all of what was there by the way for our friends I'm of course coming to you from the west coast in the USA you'll notice that we have both mm 60 Hertz for North and South America as are also a 60 cycle hum and then 50 Hertz for Europe Asia and Africa okay so very nice that we kind of give you those little tooltips there anybody who does a lot of audio knows that already but that's the difference so automatically if you're capturing on the other side of the pond as we say you're gonna be focusing more in a 50 cycle hum and there's ways that you can also visually identify that in audition which is quite fun if you've never done that before okay so let's start by doing this I'm once again going to mute myself and I'll click on and off this repair button and take a listen and you'll hear this stuff kind of getting you know louder softer as I and pay attention to as I'm I'll give you like some finger up for on finger you're just gonna have to pay attention my fingers not doing it you'll hear it obviously enough all right here we go let me uh let me go mute myself Oh actually we don't have that um I've been here before and I've definitely had it here so you have it oh okay um you know I've only been working here for five years let me just check on that for you oh okay uh you know I've only been working here for five years on that for you okay so again the key here is reduction right so we are reducing the amount of Troublesome Rumble and hum and as I said these clips are very very short here so sometimes it's if you're you know if you're kind of listening intently you can adjust those sliders as I did and you'll see it'll kick in more of the reduction more of the hum reduction now in talking about noise reduction since Renard brought this up before this might be a candidate for using some noise reduction and it works the same way where if we turn this on and let's just start it at around 5.0 let's play this this clip back right here and see what this does okay take a quick listen to this I'm going to mute myself again thank you ya know we don't have it yeah no we don't have it okay so if you were as I like to say to my young offspring using your listening ears you'll notice that when I turned on the noise reduction you actually kind of heard noise and you heard this it's got a weird gating sound and it sounded like the noise reduction kicked in okay so this particular noise reduction is called adaptive now it again it uses a bit of machine learning to adapt to changes in noise on your clip over time it's very effective filter the current limitation in using this on very short clips is that it has to excuse me it has to analyze first and then you actually physically hear it kind of suck the noise out the problem is is that if there's not enough room to learn you're going to get this kind of dated in and out kind of effect not ideal so what's the solution here it's not the most eloquent today now remember this is essential sound and premiere v1 I'm hoping we'll see some of these things change it's the first version coming to premiere the alternative what I would recommend doing if you really need to denoise things there's two things you can do one is before all of your dialog is cut up you can create a duplicate file and apply reduce noise to it destructively on the audition side you could also keep in mind apply noise reduction here in the mixer but the problem is you're going that you're going to run into the same issue because it's still adaptive so every time you've got a gap like we see here right gap gap gap gap it's going to have to it has to relearn every time so really the only way to currently combat that is to process it on the audition side or on the at the track level let me see do we have obsolete audio effects yeah so you do have the old-school denoiser and I just lost it and sorry some of my effects menu they're showing up twice this is I need two reflexes but this old-school denoiser actually does a pretty good job and if you place this at the track level again I'm inside the track mixer here this will do a pretty good job of minimizing noise and then you can focus everything else on essential sound now that speaks directly to what essential sound is actually doing because in fact it's applying effects at the clip level non-destructively not at the track level and what do I mean by that well if we go to effects controls and let's just select this clip here what you'll see is that we in fact have the FFT which represents the D rumble filter the D hummer which is a specific again an FFT like e EQ notch filter and adaptive noise reduction and you'll see that you have the ability to edit these well what is it specifically that you're editing well if we were to go into something like noise reduction here and this is why I talked about sort of the the strength and kind of brilliance of this essential sound panel is that to the editor we're only revealing these single sliders but when I move that single slider watch what's happening inside the noise reduction panel here it's actually reconfiguring multiple parameters simultaneously so it's not just you know for instance if we were to look at this here right this is reduced noise by it's not just saying okay yep reduce it by 40 or reduce it by nothing that's what one slider looks like right that's kind of the impression that you get but in fact it's reconfiguring multiple parameters so this is this is the the AI this is the machine learning behind all of these effects and filters some of them obviously don't need it like others do but this is effectively what's happening regardless of what you're using so sim literally if we go into something like dynamics which I'll show you now this is where this gets really really really cool and really useful so let me uh let's just quickly here I'll pull this up as well let me just select one and show you here I'll turn on dynamics we'll go into edit and once again here this is again now applying our dynamics processor ie compressor limiter gate okay I thought you were saying my man need a mute button on that mic yeah I used up my old console I had a meet here I'm having to go through my software mixer but that's absolutely fine incidentally on/off buttons on your mines usually means that they're not going to be you know super awesome sonically in any case although some can be dynamics processing this is the hardest thing to set compression if you've ever tried to compress a voice it's really easy to do improperly it's really easy to overdo it a compressor is first and foremost an amplifier so a lot of times if people were to use things like presets when you see concede we got lots of them here and we have things like voice over and vocal limiter I mean sure you can apply that to something but just because you choose that preset doesn't mean you're actually compressing and I'm just curious let me let me go ahead and choose this voice over preset just see what happens um you know I've only been working here for five years so let me just check on that for you thank you so if you're watching this is a gain reduction meter which by the way this is brand-new in this release and you can see with this preset we have something here called a ratio of two point five to one all right now what what that means is that for every two and a half DB above the threshold it's one decibel at the output now if you want to really understand compression I highly invite you to go to my youtube series audio 101 which you can find on my youtube channel which is youtube.com slash Jason Levine video and I really explain to you how a compressor works and this is why it's so easy to mess up because I can see right now on this gain reduction meter hey you know I've only been working here for five years so let me just check on that freak see where my cursor is right here it never exceeded two and a half decibels so if it didn't exceed two and a half decibels above the threshold we're not compressing anything all right so what people will often do is that they go into the cupressus they go okay it's it's compressed but it's not loud enough and they just start creat increasing or cranking up the output gain so all you're doing is you're just making it louder you're not even compressing any of the peaks or kind of evening things out and it's probably just going to sound noisy and potentially an artifact of that is what's called breathing and pumping where you actually kind of hear it like doing just that what is up from the Congo hey nice to see you and thank you evil Suri's pointing directly to my audio 101's yes indeed and it's episode eight which features how to set a compressor so again the brilliance of using this dynamics slider okay is that first and foremost what it's doing is it's automatically detecting the threshold level meaning the point at which compression begins and it's analyzing every clip that you put in there so that automatically it's going to give you the best sound possible and it's also going to make sure that you're actually properly compressing okay so now on this particular dialogue let me let me choose a couple of these here we use the bartender as our example all right let's go ahead and play this back and again we're going to be able to adjust this from a natural sound less compressed to a more focused sound oh um actually we don't have that um I've been here before and I've definitely had it here so you have it oh okay um you know I've only been working here for five years so let me just check on that for you okay okay and this is where I get I'm gonna turn off that noise reduction oh okay um you know I've only been working here for five years so let me just check on that for you okay so again uh on this particular clip if I were to just select this again you can see what the settings are here that's probably a little too much compression for this I was kind of trying to overdo it so you could possibly hear some of that a bit too much of the breathing pumping because there's a lot of noise here which means that we need to control a bit more of that Rumble and a bit more of that hum and possibly leverage some noise reduction either at the track level or via audition but the key is that if you've got your vocals particularly if they're nice and clean this dynamics processor is really going to do the trick very very quickly for you and it's going to do it intelligently and it's also going to prevent a lot of those issues because it's learning the threshold levels of the clips themselves okay all right so that's a little bit on the dialog and again this is not something that you know you really want to go back and listen carefully I'm trying to do this quickly and it's hard to kind of disable and it really my mic each time to let you hear I'm revealing these features to you so try this immediately okay now additionally at the top someone mentioned to be getting presets I'm going to point out a little bit of this here so you'll see that we've got things like balanced female and male voices clean up noisy dialogue and then you've got sort of stylized presets from the telev of telephone from a television in a large room in a small room make close-up make distant so if you choose one of these let's try make close-up what this does is it automatically applies a series of filters and effects now not all of these are going to be ideal particularly but based on the type of audio it is so let's see under each key we've got subtle boost male let's try female just because she's female here if we take a listen to this hey um you know I've only been working here for five years so let me just check on that for you now sound wise it's okay obviously we're hearing a ton of that Rumble so we want to get as much of that out as we can it's also a lot of hum on that clip so let's just add those two things and now play this back with that preset um you know I've only been working here for five years so let me just check on that for you okay okay and you can see as I start to reduce hum reduce a bit of the rumble this is probably again a good candidate for the noise reduction and maybe even if we were to put that in here like I suggested let's go ahead and grab that D noise er okay oh whoops did it not want to add it for me what did that say notice how I just clicked right past it oh I don't want to add a new aversion okay did I just do what my grandparents do and just click YES on the on the pop-up and not read it I did okay so this is the denoiser very simple set an arbitrary level of reduction wine this bag hey um you know I've only been working here for five years so let me just check on that for you thank you okay and you get the idea I mean we can play around with this more and more but that's something that I would recommend giving a shot giving a try okay so it's 1:30 that's enough on dialogue again you've got various EQ presets here that you can also use to improve presence and and again different old styled sounds background voices old-time radio these things if you're trying to mimic those kinds of sounds you see that you've also got a reanalyzed button so if you make changes in dynamics manually it can reanalyze all of those thresholds you've also got the creative reverb which we're going to show you I'm going to show you now when we talk about some of the background sound okay so let's do that so let's now focus on ambience I'm going to select all of these ambient Clips this is from a sound effects library of bar bar people chatting okay now as you listen to this one thing that you're going to notice is it's very dry it's a little too up front and the fact is the camera you're never seeing the back of the bar so we're hearing too much clinking it's a little too discreet right and we want to be able to make this sound a bit more like it's actually like the bar that we're in right this this and anyone who does sound as I knows it's a lot of usually adding multiple different types of sound effects and sound design mixed on top of one another to really create an ambient environment well I'm going to show you how to do that here so with all the ambient tracks selected let's go ahead and tell it this is ambience now again you'll see you've got your loudness matching now these on this particular track I just recopy door they rather recopy the same file multiple times so we don't need to Auto match but what we are going to do here is leverage these two things which is very powerful the reverb and stereo widening now reverb again remember these are being applied non destructively at the clip level so if we go to something like large room ambience see we've got outside ambience room wind any of that well in a larger room this is effectively going to place us in a bigger space okay and I'm going to mute myself for this remember again it's at the clip level so if when we select a single version of this clip I'll show you all the presets that you have and all the manual settings that you have you can of course make newer presets here inside the effect as well because four isn't really enough but take a quick listen and hear what it does is we start to expand the room and really kind of place this back into the environment okay I mean mute myself and I'll do that here we go okay so could you hear that as I was raising my finger for on and doing this for off suddenly when I turned it off its it sounded like it was just way too close like it was like a closed mic bar and then suddenly when I turned it on it was very ambient and in the background and that's what you want because that's this camera has really tight shots right that looks like a 50 mil or something you're not going to hear discrete clinking and talking you're going to hear motive it's going to be kind of muffled and echoing that's what you want okay and again if we were just to sort of look here at the individual clip level here it is with the studio reverb applied okay and again you've got lots more presets in here many of which I created you'll find a lot of those useful and then you've got all the various settings you never have to touch any of these okay it's just the idea that they are there for you if you want more control now the other key to using this ambience panel inside a central sound is that we also have stereo width and this is this gets really cool now this stereo widening can be a very dangerous thing you've got to be very careful because you can overdo stereo widening and what happens is it drops at whatever was in the center of your image your sort of sonic image as you widen stereo the center starts to drop out it starts to be sort of pulled down that can be bad for music and things particularly vocals and you know a lot of vocal content is generally pad directly in the center stereo widening for ambience however can be awesome because what it does and I heard someone kind of say this in the chat moments ago and hey Leonardo how you doing nope not too light man and hey Pierre Julian what it why it's essential for dialogue is that because it's pulling out some of that Center it lets the dialogue kind of sit right in there very nicely so what I'm going to do first I'm just going to I'll start by again and you can see you've got the single slider lets you go from narrow too wide I'll start narrow I'm going to widen it and then I'm actually going to bring in the dialogue and then I'll sort of turn this whole thing off and on and kind of let you hear the difference of the very dry not wide dry sound effect and then the wet ambient wider and you'll just kind of see how the dialogue really just kind of pops out a bit more and suddenly the scene feels a lot more real alright so we're going to do this is but probably bout a 30-second playback so first with everything on I'll mute myself again here we go hi-yah hi I'd like to get a drink please uh okay great I'd like an elderberry liqueur oh um actually we don't have that um I've been here before and I've definitely had it here so you have it oh okay um I didn't say much I just said oops sorry I got to take off some of that noise reduction that we don't need so could you hear that you want to see the rest this flick Rob totally so you definitely want to check this out you can find it on Vimeo on I believe it's on YouTube as well again it's called see you around bye Orrin Brimmer it's really funny it's 22 minutes you can read about it on IMDB it's really fun it's a all through NAB I was laughing at the stuff what could you guys hear that could you hear that you know first how everything got wider and then when I turned off everything it was kind of like it just sound it sounded weird right it just sound like someone was recording something like they had their iPhone on the table in a bar didn't sound good turned everything back on now it was kind of echoing in the background and very wide and then I put the dialogue in there on the dialogue really just sat in there and then when I turned it off all that the sound effects were competing for the dialogue because it was too discrete so that's why that creative section adding some of that reverb is so important because it really allows you to place whatever sound effect whatever character into a more realistic matching environment right and this is why I say when you do ADR dialogue replacement you know you're doing it in a studio so it's really dry you wouldn't be able to just insert that into this timeline you'd want to add a little reverb in there because it has to have some kind of echo some kind of noise grit ambience to fit into the scene okay so that's what we're using it for and you know again a little goes a long way you see only the one slider here but I showed you via the effects controls how to access everything now similarly with stereo width now this is something that's very important to to point out is that it's very easy to overdo it and you want to be careful I was doing it sort of a bit extreme here to just really prove a point again some of you in headphones would hear it if you're on speakers it's a little bit more difficult to hear or to just perceive quickly over the stream but this is one of those things that you don't want be careful just be mindful that it's very easy to overdo as I said though for background sound ambience it's it's actually it can be quite wonderful because it's going to scoop out a lot of those mids effectively to allow dialog to sit there a bit more nicely okay but just be mindful that you don't you know if you're up at 300% I mean it's very few times I'll use that much not that I've never just be aware that you can overdo it what's cool inside the effect itself is that you actually see because often as I said the center begins to drop out you can kind of control some of the actual center channel information as well so as you're pulling the left and right apart and that Center is kind of moving down you can kind of sort of re reposition some of that and move it around a bit which is which is kind of nice and preserve a little bit more of that center channel info okay all right so would you layer ADR with the mic audio yes and in fact mark there's there there is layered ADR so there's a bunch it's mixed in the timeline here now would you put them on tot like playing simultaneously no um would you play it let's say you captured the room tone of the bar itself okay and again you know if you've ever seen when they do these things on set there's generally no one's actually talking or anything it's silence right all the all the bar noise is kind of flown back in occasionally there's like rustling obviously people have to move usually though onset it's silent however all that buzz and Rumble and Hum that's that's the kind of stuff that you have to deal with you know just depends how it was recorded you know if you're working with wireless and labs and booms and things interference dirty power connections cabling it various lengths you can end up with those kinds of things but in any case if you would record a just room tone that might not be a bad idea to layer underneath the ADR but generally again I try and recreate it with the reverb effect you know and try and you know and this is where again if you look at some of the presets that we've got here so you know a hall that's obviously can be very echoey room ambience this is going to be more like again sort of a think of it as a big living room you know not echoey but just it has some reflection mastering reverb is going to be a very small small type bright reflective kind of sound outside club this is going to be a bit more a bit more like what a bar bar noise would be it's going to be a bit muffled sounding it's not going to be bright it's not going to be clear because it's meant to kind of like as if you're outside the club right you're hearing you don't really hear discrete anything it's just kind of noise you know so these are sort of good starting points if you want to experiment with that okay doing great on time yes indeed oh hey Jenny Appleton yes already called it up many times Jenny's posting it in there if you haven't heard me say it yet you can find it on Vimeo and as I mentioned that's Orin himself I invite you guys to check out how he refers to his character in IMDB it's very funny I won't I won't give it away you wouldn't use those room profiles on dialogue would you well again uh probably not but if we let's see I'll select a piece of this dialogue here I think we have the same presets in there oh there's even different ones you see so like here you might want small dry room or warm room or you know I'm not going to do auditorium or church or large reflective they're just going to be too big so here if we were to zoom back out let me just solo the bartender again let me just see what we've got on her I might get rid of the dynamics give me a second here don't want that I don't want that okay it's going to select these three turn on some whoops not equ some reverb and let's start with something like a warm room let's see what that sounds like oh okay um you know I've only been working here for five years so let me just check on that for you so you hear I mean now again I kind of I brought it up a bit hi there it's it's a bit reflective and a bit echoey but maybe when it comes back in here mail I got it much lower let's take a listen to this and see ya know we don't have it if a hundred is one egg ya know we don't have it versus really wet ya don't have it okay so it's really going to be you're just going to have to play around with some of these and it reveals different presets based on the different content that you're using alright what's up Vanessa so if I had a soundboard audio use the reverb versus layering cam audio and soundboard yes yes you can do different types of layering exactly yep totally okay all right so now we've done dialogue we've done ambience incidentally sound effects really not much additional stuff to show there I just want to point this out here ever to go to one of these alternate ones sound effects it does the same thing it gives you loudness automatic and reverb the difference with the sound when you choose sound effects specifically it also gives you access to the panner and really what this does is this is just a more simple way to adjust panning sort of statically on the clip at the clip level you know if you want things to kind of move left to right you'll still keyframe that in the effects controls but the last thing I wanted to show you here and before we send it over to audition I'll show you a couple of the power user features and it'll play you this the before and after oh and I meant to duplicate the before crap okay that's fine no but actually there's a very easy way to do that so here let me let me do this I'm going to clear the audio type get everything off of there alright takes everything off that's a nice little power user tip there people are asking me at NAB what if I set a bunch of things like loudness and I don't want I want to undo it all just clear the audio type it'll wipe away everything you've put on there this will kind of put us back to ground Ground Zero so I can show you a good before and after okay but I want to focus on music now so let's go into music tell it that this is music once again will con solo this take a quick listen here oh um actually we don't have that okay so again loudness matching very useful for mixed type of music you can see here balanced background music that's basically an auto match that's kind of just doing it for you but I want to talk about duration so what does duration do and this is where we're going to now differentiate what you do in essential sound and premiere versus what you can additionally do on the auditions side so target duration means this is actually going to use a stretching algorithm to non-destructively adjust the length of your audio without changing the pitch now this is ideal this is great this is awesome that we used to refer to this kind of as fit to fill right the caveat is that when you're using a stretching algorithm depending upon how much you're stretching and I usually say with any of these things you know ten percent or so you're usually pretty good depending upon the type of content you know twenty percent could be okay it just depends it's not unlike kind of using time remapping on a clip to make it slo-mo when it was shot at 24 frames you know there's really there's a threshold that you're going to hit where it just starts to look not so good same thing with stretching algorithms so let's just say instead of a minute and thirty seven we needed this audio to be a minute thirty okay so we're going to shave it down seven seconds whatever that percentage happens to be when I do that you see right away it shows you now okay it's sped it up it's one hundred and seven point seven one percent but the pitch is the same let's play this back okay really doesn't sound any different maybe I'll make this a little bit louder for the moment just you can hear it a little bit better all right just do that again and here I'll start with I'll start with it off [Music] okay and then here it is with the new target duration okay so it's pretty good obviously speeding it up is always going to be a little bit better than some slowing it down not always again depends on the content but let's say that we wanted it to be 2 minutes and 30 seconds all right so now we're slowing it down you know we're doing like a 35% stretch now we're getting into that you know mmm maybe maybe not you're going to have to listen so let's see what it sounds like it's going to do a little quick pre-render here [Music] [Music] double-checking oh well because you blinked your eyes so tight really ass I will double-check all right so actually so it sound pretty good you know so again the stretching over that you're just going to have to play with it it you know sometimes it'll amaze you it'll sound amazing other times it may not sound to your liking so for that this is where we're going to go to audition I'm going to turn this off I'll leave everything else on that I have on there and here I'm just going to enable some of these so it got some other settings and let's go up to the edit menu and choose edit in Adobe Audition sequence now you've had this function before we're going to send the entire sequence over we'll send it through dynamic link what's new is that under audio clip and audio track effects you now have multiple settings so you can transfer everything that you've done here non-destructively even using third-party effects everything an essential sound even like the state that you left the tracks in will transfer over non-destructively this is so good there were some elements before that didn't quite do that now it's everything and then you have the option to render clips with non-transferable effects render all remove all really nice and the same at the track level transfer settings or removal okay pan and volume that's all of your again if you've panned done any volume keyframing or anything like that all of that will carry over non-destructively and david saying too much so yeah I mean exactly I did it sounded okay but it sounded like the band was you know popped a bunch of pills and that might not be what you want maybe you just want to re-edit the song to be 2 minutes and 30 seconds and this is what we're going to show you an audition right now so let's go ahead and click OK on this it's going to prepare the sequence data it's then going to create a new session in audition for me it will then open up adobe audition and again the state the colors all the settings that we have here they will all transfer over no ta go you're asking about someone's asking about proxies can you use proxies with this is that what you mean yes you absolutely can use Foxy's for your video files highly recommended especially if you're working on a laptop or a machine like mine so again look here we are and remember I had the music track so load notice even the colors are the same I had three of the four dialogue clips and the ambience remember we were just do I was just doing this we can go back to Premiere and you can see everything is in the same it's all in the same so load and muted state so everything that you did over there is now over here alright let me just I'm just going to change my screen so this looks a little bit better oh no that's what's better before okay I'm not going to worry too much that my workspace has changed size a little bit alright so now that this is over here let's select this music again and I'm actually going to clear the audio type and select music because this is what I wanted to show you so this is called Adobe Audition remix now I've done streams on this before notice again again the volume keyframes they're here non-destructive they just look a little bit differently than they did on the premiere side what's cool about this is that now when you go into duration you'll see that you have the stretch option but you also have remix and what audition remix does is it analyzes the audio and then it finds ideal places to perform and edit and then based on the length that you select it re-edits and effectively dynamically recomposes the track with seamless edits non-destructively right on the fly immediately so very super powerful so again let's say we wanted this to be instead of a minute 37 let's say we wanted this to be 39 seconds in duration okay I hit remix and now which you can actually see these wiggly lines that you're seeing there these represent non-destructive edit points if I go to something like favor shorter segments now you're seeing that it's done multiple edits in multiple locations and if I were to wind over here and play these take a quick listen and make this a bit louder so you can hear it a bit better and see if you can hear the Edit or see if you're hearing nothing hold on yes it always helps to have here we go okay so let's do this [Music] [Music] did you hear that or did you not hear that because that's the idea you can't hear the edits listen again [Music] [Music] [Music] and that one is not quite as good because it's cutting on some vocals there four out of five ain't bad two out of three in bed said meatloaf so again it dynamically recomposes now you can reconfigure this if you go into the remix panel which is inside properties now you're going to get even more composition options so you can adjust the Edit length so again I can say we want it like super short edits I'm down here at the bottom of the panel I can determine a minimum loop meaning this this music has a beat right it's got drums so it won't cut it won't make an edit that's any less than eight beats long this is a song as in 4/4 time so that means two bars one two three four two two three four it won't make an edit that's any shorter than that okay and you can say okay yeah make make the edits you know sixteen beats and you'll see it kind of reconfigures there and if we go ahead and play these back let's take a listen now that one was perfect right I'll take a listen here so good it even did it on the crash cymbal there by some other part of the verse [Music] okay so Adobe Audition remix for dynamic recomposing is really really cool is it is it possible to import sex directly into premiere it is not but of course you can send your session from audition to Premiere Pro and you can send the session either as individual file stems or a composite mix you probably want to do stems hoping that we get dynamic link at some point going the other direction because that would be the way that you do that Leonardo likes that epic win yeah it's it's crazy man and again is this going to do it every time magically um you just have to try it you know it's one of those things it can really shock you and how good the edits can be here's the other amazing thing let's say that you do it and you want to make manual changes to the edits themselves you like the Edit points but you want to shift things around because remember it already found the best point to edit on the beat you know or whoever runs on a be between the beat and the verse if you right-click or control-click on the clip you'll see that you have the option here to split the clip into segments and when you do that and I'm just going to select all of these I'm going to ungroup them now what you actually see is that you have access remember I told you it's all non-destructive you can actually see the crossfades that it's applied to the out and the in in this case and you can readjust the crossfades or you can just very simply move the pieces around like it's already done the Edit for you but this allows you a bit more freedom and again you've got sort of flexible pieces that you can that you can play with and manipulate and if you wanted at this point you could just completely finish the entire project right from Adobe Media encoder right here you don't have to go back to Premiere so if you're actually looking for an audio finishing workflow you know or one of the examples we've given is the editor starts they use essential sound remember all the stuff that we've done an essential sound it's still here right so they do some work an essential sound of course I erase some of these like here you go so here was the stereo width applied right and some of these other things and then your audio editor can finish it and everything that they've done non-destructively is still there all right incredibly cool so last thing I'm going to show you it's right gone we've just gone to two o'clock let's do a little bit of before-and-after here so I'm just going to remove it looks like okay did I already do it okay looks like I did let's just clear that alright got no other stuff in here everything else is the defaults okay so just to let you hear this is the before alright just done with no processing and then I'll play you the after which was done entirely with essential sound hi yeah hi I'd like to uh okay great I'd like an elderberry Oh actually we don't have that um I've been here before okay I'm gonna mute myself for this and take a listen to the after done entirely with essential sound [Music] hi yeah hi I'd like to get a drink please uh okay great I'd like an elderberry liqueur oh um actually we don't have that um I've been here before and I've definitely had it here so you have it oh okay um you know I've only been working here for five years so let me just check on that three go thank you all right pretty awesome right pretty massive Vanessa yes that is a metronome in audition if that's what you're referring to so you can have a live metronome when you're recording audio it's not MIDI based but it is a metronome so pretty cool your silence says it all oh thank you so much I'll do I really appreciate that from Algeria so my friends that's that is essentially the essential sound panel in Premiere Pro if you're a non audio person it allows you to identify audio by type dialogue music sound effects and ambience we give you a whole series of effects and filters that you would commonly use to treat that type of audio it's all non-destructive even though we reveal single sliders it's applying Clips non-destructively at the clip level it's applying effects at the clip level so you can always go into your effects controls panel make modifications and important ones oh and the last thing I just wanted to show you here is click back for one quick second if you want to change some of the default settings now you can't currently do this in Premiere but you can on the audition side master template view is where you can do that and if you go into master template view this is where you can actually change what you want things like the target Louden's to be so someone asked me on my blog what if I want it to be - you know 16 okay so you can set the target loudness to -16 or what if I want to set minimums and maximums for noise reduction or Rumble or de-essing or you know set some specific presets again adding new presets to the reverb menu or the clarity menu or any of these things this is where you can do that okay in volume you can have upper gain lower gain so that's under essential sound on the flyout menu master template view currently we've only got that in audition but again this is v1 in premiere so I hope we're going to see it come back there again so okay very good very very good all right so mark says his weak point just got way better totally and that's the thing this will it's it's impressive and it's going to get you a lot further than trying to really manually mess around the way you did before they've done a really good job in the spirit of luma tree and the spirit of essential graphics kind of giving you the things you need to just get the job done quickly this does a phenomenal job and now you have that direct path with total transparency sending everything transferring over everything you've done in Premiere to audition to the audio editor to do their final finishing sweetening and mastering so everyone Thank You Wally Thank You Albert thank you up to Vanessa Harry everyone Timothy thanks so much for joining me this replay will be available immediately after we stop right here on YouTube and thank you so much don't forget to check me out again on the creative cloud Facebook page this Friday and every Friday for the next five weeks at 9 a.m. showcasing how to make great videos we're going to focus on specific topics you can find all the information on the Creative Cloud Facebook page I'll hopefully see some of you there have a great week thanks so much for joining me and we will see you again next time take care everybody thank you all right bye bye

Channel: Adobe Creative Cloud

Views: 51,967

Keywords: Adobe Creative Cloud, Creative Cloud, Adobe CC, Adobe Cloud, Adobe creative suite, #MakeAdobeCC, #AdobeCC, #ACCTags, Premiere Pro, Essential Sound Panel, mixing, audio mixing, dialogue, ADR, noise reduction

Id: 2wO4wrKZdwI

Length: 65min 43sec (3943 seconds)

Published: Mon May 08 2017