How to Mix Sound to Picture for Short Films, etc.

[Music] [Applause] [Music] well alright hello good morning good afternoon good evening wherever you are in the world my name is Jason Levine and thank you so much for joining me today on Adobe live for today's session which is mixing sound for a short film so this is something that we've tackled on some of the previous video and audio master classes held on Fridays at 10:30 a.m. Pacific time but today I thought I'd take a slightly different approach by introducing sort of a combination of using the track mixer which is a more traditional styled mixer or mixing environment as well as integrating some of the essential sound panel into the mix and for those of you unfamiliar the essential sound panel was developed a couple of years ago as a way for really non audio professionals to very efficiently mix audio for video or mix audio to picture it has incredible power great flexibility but the idea behind essential sound is that it's a very simple implementation so I'm going to showcase a little bit of both here giving you some of the kind of basic fundamentals of how I would set up a mix with the track mixer first doing some basic organization things to kind of get things ready and together and just make it easier to start navigating the mix and then you know begin individually tweaking different elements as we see fit or as needed so as always of course we've got a long schedule today I'm very happy to be the first your first cup of coffee this morning but we have a full day of learning and social social distance learning for you today here on Adobe live so I'm with you from 7:30 until 9:00 a.m. Pacific at 9:00 a.m. we've got hey suits coming up with a Photoshop daily creative challenge 9:30 we've got photo retouching with weekend creative at 11:30 back with the illustrator daily creative challenge with Andrew then at noon we've got branding and identity with Nina from weekday studio two o'clock this afternoon my colleague Howard Pinsky will be doing the Adobe XD daily creative challenge 2:30 another colleague of mine your friend and mine Kyle T Webster will be doing a draw long and at 3:00 p.m. the design off with Voodoo Val and Logan Faber so you'll be sure to want to stick around for all of those things of course you'll be able to watch all the replays here on Adobe live or on the Creative Cloud YouTube channel it's also worth pointing out that while we will be having another video daily creative challenge coming up in the coming weeks trying to determine exactly when that's going to happen right now wanted to also point out to you that we have a new Premiere Pro or a new Adobe video discord channel that I would highly recommend you sign up for and start leveraging this is a new community we've grown at almost 10x since the DCC aired a couple of weeks ago is a fabulous way for you to connect with peers connect with people who are doing the same kinds of things that you're doing and I've just been impressed with how much everyone has just been so positive and encouraging and they're really really cool and very very nice to see everybody kind of just working together and trying to help one another and inspire one another and what can I say it's just lovely to see the fruits of the Adobe live community come alive in discord alright so as always we're coming to you live on a series of different networks now the conversation for today's class is happening over at Behance net slash Adobe live so that is the chat I'm going to be following but for those of you who've joined us on Twitter and periscope hello scribbs hello Olga sessions Co tomorrow not your typical man 74 nice to see you Karen Heffernan Abhijit from Mumbai great to see you Kerry Latimer and from Scotland oh very nice to see you as well Sam KP and Sam Peterson Oh what's up man nice to see you all right we've got bill Vincent from Bradenton Florida Eric very nice to see you Andre Asst Richard Newberry pulak Roy manda Jesse great to see you all and then let's see what else we got over here Emil hello how's it going and Kirby P films thank you so much ah very kind of you to say that thank you so much okay so again if you want to follow the conversation please join me over at Behance net slash Adobe live that is the chat that I'm going to be following for the day all right very very cool okay so let's go ahead and switch over I've got a bunch of stuff to cover today and I want to make sure we have ample time to do it and of course with these streams I will be taking questions kind of you know in between as we're moving and navigating and doing different things in here so this content is some stuff that I've shown before from a short film called two-step and I've since added I added some additional sort of underscore and music to it now when we begin the process of kind of breaking down how to begin you know a mix whether it's for a short film or commercial or even a YouTube video you know first thing once you've got everything kind of laid into the timeline and this is typically what I'll do is that you know mm-hmm assuming the scene and everything is all cut together and once I get some basic if there is sound design and if there if there is music and sort of other elements just to have a simple playback just to kind of hear everything where it is now in the case of the music here in particular I've currently disabled some of the effects that I already stuck on there and we'll kind of go through what I did with them I just in the essence of time put some things in there they're all disabled though you can see they're all everything is turned off so I'm just gonna drop the amplitude of this first music track here because without the parametric EQ that I have implemented there it's actually quite a bit louder so drop this down Geron -9 we'll bring it back up to minus 4 in just a minute and I'm gonna grab my headphones here and then we're just gonna play through this it's uh it's a little it's about a minute and a half all right but this is just so that you can get a good idea of where we are what everything sounds like I might even turn the music off halfway through if it's kind of getting in the way but this is first gonna showcase to you how does everything sound before it's mixed how consistent is the dialog how even are all the dialogue performances if it's for a short film or some or some kind of narrative piece like that it's very possible that you might have replaced or redone some of the dialogue concept known as ADR alright dialogue replacement whether that was done in the studio or on set so as a result of that the levels between you the original raw take and then your overdub take can be different so these are the kind of things that we're gonna listen for how different at the levels on an individual speakers performance how different other levels between in this case two characters in the scene and then all of the elements around it all right okay so let's go ahead and let's take a quick listen to this first all right I see Eric is saying I've never used the audio track mixer panel and that's why we do these things incidentally I am kind of in our audio workspace here inside of premiere you can also access this from the window menu under workspaces I've obviously modified it a bit for the stream I don't know that it actually has the audio track mixer in there so that too is something that you can access here under the window menu now I also want to point out just real quickly we have two well three it basically but we also have this audio clip mixer and this allows you if I just pull this up real quickly this allows you to adjust amplitude of Clips on the track I very seldom use this though because generally any kind of clip volume changes I'll do right on the clip with with envelopes with keyframes and then all the effects and things again if I want generally I'm applying effects globally to a track as I try and organize things that way but you can also do clip based effects which only affect that single clip versus a track based effect we'll get to that in just a few moments I almost in fact I just saw I never use the clip mixer ever never there's some people do it's fine I think people confuse it with the concept of the track mixer though so again the track mixer when you apply effects and things applies to every clip that lives on that track you still have all the same automation capabilities you can still individually treat things but again effects and things applied to the track apply to every clip that lives in that track all right so let's play this back I'll go ahead and just make this full screen here for the purposes of actually let me I'll minimize it first just to check our individual levels and then we'll go fullscreen on it here we go take a listen okay she can't see me you see she's what they call professional and you're what they call can't win for losing she does she took it all she took the whole damn score what she did is she paid me what she owed me money wife I have to pay you if I get any of it you just lost it now that ain't my fault besides I gave you the tools I gave you the phones I gave you the scripts I told you what to do and I told you how to do it music it's a little strange at the end there ok so again you saw I dropped that music quite quite significantly there just so that we could hear the dialogue a little bit better but overall is a starting point it's pretty good and you know again depending upon how you are tracking things you know if when you're working on set naturally you know even even with a small crew there's all kinds of potential for noise and other just incidental things that creep up into your recording which is why a lot of times dialogue has to be replaced in fact there's at least one or two clips in here you may not have noticed necessarily where they they replace the dialogue after the fact it was probably just it was too noisy on set or they just didn't get the sound some is something with a sound just didn't quite work and they had to redo it so this is a really common process but overall everything sounds pretty decent now one of the things that I typically talk about when we are talking about the essential sound panel is a function in there that we have to allow you to tag all of your media so that essential sound knows what to do with it we're gonna get to that in a minute here because I really want to focus more on using the sort of manual audio track mixer for the start so to do that a couple of housekeeping things that I always do excuse me first and foremost and this is not unlike something that will be familiar to many of you - all of us really who work in Photoshop naming your layers naming your tracks okay so this is not a massive session by any stretch we have all of five audio tracks here three tracks of dialogue all labeled in blue it's also a good idea to Advent to take advantage of all the various labels in Premiere you'll see this if you check out in fact yesterday if you do a hashtag search on Twitter or Facebook for timeline Tuesday take a look at you know at different timelines from you know I'm not saying look at look at the pros but look at people who do a lot of editing and you'll see that they take advantage of color coding it makes your life so much here to color-code a clip or a series of clips is as simple as right clicking or control clicking on it and then going to label and you'll see here that you have all these various label colors available to you all of these by the way by the way are editable under your preferences as well so this allows me just this kind of visually identify ok everything in this you know this sort of pale blue this is dialogue this yellow that's my main music and then the stuff that's kind of in this mango orange that's some of the the incidental underscore alright thank you Shawn so so again so just kind of visually coordinating the look of things is a good way to start second part of course is to label those tracks even though there's only five it can certainly get confusing and you just you just get lost in it so it's really important there's two characters here web and dwyane based on how some of the audio was captured you can see up here on track one there's a couple clips that actually contain audio from both of them again I didn't read this is not my footage I didn't I didn't film this on site but for whatever reason the good clip they needed had this kind of combined performance so there's a couple Clips there on track one web by himself is on track to Duane is on track three a-four I've got music one a five I've got music two and then we have our master fader here also worth pointing out for this particular mix we're working in stereo now I get asked this question a lot people are like oh cool how can I take this and how do I make my 5.1 mix from this session as it is okay well the short answer is you need to build your sequence you need to start your sequence either by choosing a sequence preset that already has a 5.1 if you were doing surround a 5.1 master fader meaning that there's six output channels on the master or in the case of if you were working and doing something with ambisonics and vr choosing a sequence preset that has a nambeesa neck for channel master if you simply go up to sequence settings at the top here and you're getting you're getting a little bit of additional learning here in terms of how you're organising your sessions when you begin your mixes and is something that kind of confuses people you'll notice that while you can change editing mode time base frame set you can change basically all the elements of video even video previews and VR properties the one thing you can't change once the sequence is created is the channel format alright so if you started with a stereo a stereo master this sequence is stereo you can't suddenly convert this into a 6 channel master and then remix it for for multi-channel so to do that you would have to create a new sequence from the start and just give it a 5.1 master you can do that I don't never gonna be able to see the icon it so it's down here you can see a little tooltip right there new item this is inside the project panel which is hidden behind my camera right here and if we choose sequence alright this is where we could go into something like our new sequence dialog here alright now I usually cuz I'm typically working in 1080p I often go with the digital SLR presets 2 3 9 7 6 for my framerate but here's where you can go into your settings right this looks familiar alright obviously we're in 48k but if you go into tracks now this is where you can determine what that master is going to be so if we wanted to make a 5.1 master I would choose 5.1 okay and then you can you can always add and change the configuration of your track types after the fact that doesn't matter it's more about that master fader ok you're typically not going to have 5.1 audio tracks in a 5 mix and a 5-1 mix you could it's not exactly common because again your raw elements are going to be mono voiceover you know mono sound design stereo sound design stereo music all living inside of this multi-channel environment ok so it's really important I get asked that all the time especially when you people are like doing this exact kind of thing I'm creating a mix for YouTube I'm gonna do it in stereo oh but I'm also gonna make a blu-ray and I want to do a 5-1 mix how do I just like convert this session well you can import the existing session into a new sequence right but you have to build the sequence from scratch with that 5:1 master so let's just say I did this we'll call this two step 5 1 and click ok all right now just for just a showcase here you'll see that so on each of our tracks now you're going to get this individual multi-channel panner so you can control the 5:1 positioning of your mono or stereo content in 5:1 but most importantly if you look at the master fader you can see these 6 divisions right here so this is telling you that this is a 5.1 master alright so just something to point out again that something we're working with today but I get asked this a lot all right very cool all right yes Eric yes hashtag timeline Tuesday correct ok very good all right so we've named our tracks we've color-coded our tracks now something else to keep in mind and this is again a practice that I always use because in in the end it just makes life a lot easier now you're going to have to typically treat each individual clip that's just the way it is now again you can do this via essential sound we're going to focus more on the audio track mixer here but one thing that I'll do right away is to create a sub mix or a sub group for all of the dialog because once all of the individual clips are treated and by treated I mean maybe you need to remove some noise right maybe there was some room ambience that you didn't like maybe each of them needs a little bit of EQ again they're all living on the same track each character so maybe I can get away with using the same EQ for everything maybe I need to use a clip based effect just an EQ on a single clip and then everything else can use kind of a global effect different ways to approach it but once all of that's done I like having all of my dialogue on a single stereo fader so I can apply a global compression which is going to even out the dynamics in a uniform way so that all of the dialogue after it's individually treated just kind of sits right there in the mix and again it's just very present and consistent and it's easy to control everything simultaneously does that make sense alright checking so in the chats here okay yes all right Billy surf Martin what's up herb what's happening AGB I think clip mixer is an easy way to new users and mixing audio yeah that's uh you know again fair enough it is where I think the killer the clip mixer gets confusing is it still appears and and I'm just reading a comment here just just to show you this one more time what's confusing about this and why I don't typically use this is that again it's a clip mixer so you see these faders and you're thinking oh okay that that applies to sort of everything in this track but it's it's really about what clip you have in focus and then adjusting volume and pan on that clip so yes it's a it's a decent way if you're wanting to do quick volume adjustments it just doesn't give you the the visual overview if you're trying to identify something I again I think it's okay I I just never really got into it maybe that's just because I'm from a more traditional mixing background but yes absolutely whatever you feel comfortable with I mean that's the thing do it however you like there's always multiple ways to do things in Premiere and that's what's so nice about it alright Cal what's up hey never late always on time as I like to say okay so let's go ahead and create that sub mix now this particular sub mix what we're doing is we're creating essentially a group I'm not using a sub mix for the purposes of creating an effects send and we'll get to that in a little bit but you created from the same from the same location so up here under our and by the way I should point out in your audio track mixer it's going to open up like this not expand its you're gonna have these big long faders mute solo record this is your automation pan left and right output and then your input channel okay you can see currently they're all going to the master so if you twirl this down this little triangle right here you can see there's a tooltip that says show heíd effects and sins go ahead and twirl this down and at the top here we have our effects inserts this is where you would insert or place things like Equalization so you would place an EQ it's very common to use an EQ in an insert position most commonly you would apply compression or limiting on an insert and the concept of an insert is you're sending the audio to in effect and you're immediately sending it back okay ascend which is down here that's this second section here and they're indicated by these two different icons FX and then this little patch cable for send ascends allows you to basically take that existing audio and send it to another fader to some other place they can coexist in two places but this allows you to send that signal somewhere else so that you can independently apply things to it versus the insert where you're sending it someplace and then it's coming right back so it's one location you only there's one control the send allows you to place it somewhere else and then have multiple control capabilities okay gets a little confusing you'll follow me along you'll understand what's happening here so to create a send group we're going to click on this down arrow here and I'm gonna create a stereo sub mix okay let's go ahead and create a stereo sub mix for this and again this is going to house all of the voices so that once they're all individually treated I can control their volume in the mix with a single fader with a single slider create stereo sub mix alright and I'm actually going to it's called sub mix one for right now let's scroll over here and we're going to rename this dialog with the US English spelling most of you know I typically type it like that but then it gets slightly cut off and that bothers me so we're gonna call this dialog okay now I took it out of this send position here the reason for that is I'm not trying to send it over there so that I have two places where I can control volume I don't want that I want to group everything over to that sub mix so for that where it says master this is your track output okay this is going to allow you to take everything that you've applied so all of your inserts along with again whatever effects you may have in here you can then route those to some other output to some other favor I don't want it to go to the master I want it to go to that dialogue sub mix okay and then the dialogue sub mix goes to the master alright so we're gonna send this to the dialogue sub mix next one dialogue next one dialogue okay let's go ahead and just mute the music here so that you can see how this all works scroll over here so if we're playing this back now just our dialogue and you can see now we have our dialogue grouped fader if I grab this fader now this will silence all of that dialogue simultaneously here we go you'll see right so you can see it's still playing out on the individual channels here but now this fader she tell you she took it all the whole damn school what she did is she paid me that fader now controls the mix of everything together okay so again once we get everything treated we add EQ we add compression whatever we need to do to really finesse each of these individual clips when it's all ready when it's all said and done now not only can I control the volume of everything but I can control the dynamics of everything globally you still may - may need to control dynamics on individual clips as well all right audio mixing can get really deep and really complex and it just depends how far you want to take things and how far you need to take things if you're doing a really small production and stuff is very cleanly and easily recorded you probably don't need to do all that much for something like this where there's a lot of back-and-forth again there's a lot of ambient sound that I'm hearing there's some dialogue replacement things are gonna need to be tweaked a little bit more to really kind of homogenized and even them out all right okay do-si-do yeah right submix yes right also known as a bus also known as a group right lots of different terms for the same thing so the key is we're just sending all of that audio to one fader so it can be controlled in globally just very easily again kind of after the fact that we're gonna we're gonna treat all of that later alright so the first thing we want to do is start going through these individual clips and just kind of listening to what each of them sounds like by character so since that it starts with web here that's this dude right here alright let's just go ahead and solo his stuff and just listen all right and it's really important to listen critically we're listening for is there noise are is it is it crispy is it too bright is it you know what does it sound like what is it missing all right and we're just gonna kind of scrub through each each little clip he's got about four separate sections here to hear what they sound like alright let's take a listen all right next she tell you she took it all she took the whole damn score all right now you can hear there's a little bit more ambient noise on here you might need it I don't know if you're in headphones incidentally I did place someone may notice that there is a multiband compressor on our master here just want to point out that all I did for this I'm using the brick wall limiter simply to amplify the audio for the stream now I will often put a multiband compressor on the master here I'm not actually using any of the compression here I'm just using the brick wall limiter just to amplify the overall stream to bring up some of that ambience and background noise but if you're listening carefully she tell you she took it all she took the whole damn school and you can even see it visually that there's there's a decent amount of some kind of just noise it's not bad it's just room ambience or maybe it's like a car driving by outside but it's not silent alright and similarly you know there's if we if we scroll back you know there's also some of that noise here at the end in fact this already sounds somewhat cleaned up alright so it's a little bit noisier here she tell you she took it all she took the whole damn score alright next one to pay you if I get any of it now that particular clip again how they organized it it's actually the two of them captured on here so this one's gonna be a little tricky and then the last piece I don't have the money alright okay so overall here's what I would say about these his dialogue his speaking level is all pretty consistent that's a good thing there's definitely you know some room ambience which maybe we need to tackle we'll know a little bit more about this once we listen to Duane our other character here alright where it looks like there's only two individual clips of his so let's take a listen to those all right Eric can you comment on the basic function of a compressor yes in just a moment okay so let's go ahead and listen to these here we go a lot talk to me she came to see me you see she's what they call professional and you're what they call can't win for losing all right now right away one of the first things which if you're listening critically there's a very different sound to this this one sounds very boxy okay now it could be that this was miked or boom miked with a different microphone it sounds like he's a bit what's known as off-axis so it has this kind of roomy boxy sound and there's a different noise characteristics so to put it in perspective listen to Webb here alright he sounds like he's like sort of directly speaking on a microphone whereas if you listen to this laptop doing me she came to see me you see she's what they call professional and you're what they call can't win for losing and what what I'm hearing is there's actually you're getting a lot of the reflective ambience of this little space in this kitchen you're just hearing more of that so that could have just been again a combination of how the boom operator was holding the boom he wasn't quite positioned correctly on on the mouth when you use shotgun microphones for capturing dialogue these things are typically using a polar pattern known as super cardioid or hyper-cardioid it's a very very small window think of it like having shallow depth of field when you're shooting f28 you know you've got a very small limited window of being InFocus well with a shotgun mic like those are those long long skinny microphones there's one above me here same concept there's a very small depth shallow depth of field where you're capturing full-bodied sound of a voice and then if you're just slightly off to the right or left you're just not getting it so that could be what we're hearing here so - even these out it just bothers me a little and - give this one a little bit more warmth we're going to have to do some individual equal as equalization on this okay let's skip to the next clip here besides I gave you the tools I gave you the phones I gave you the scripts I told you what to do and I told you how to do all right and you can hear the same thing here now what's interesting notice that when he moves forward you can actually hear the sound changing it gets progressively closer and warmer besides I gave you the tools I gave you the phones I gave you the scripts I told you what to do and I told you how to do it okay now to even that out would take a lot of intelligent keyframing I don't know that we're gonna tackle that whole process today that's a bit more on the advanced side but that's what you would do you would actually keyframe probably the amount of the equalization at the beginning of the clip and roll it off simultaneously as he moves closer to the camera all right and it's the same key framing that you would do whether you're adjusting opacity or position but in this case it would be either the the wet/dry balance of an effect that you've added or something to that nature but the key framing concept itself is the same all right and then the global track that contains both of their dialogue or bits of both of their dialogue what she did is she paid me what she owed me for her this one I can hear you could there's some rumble in there that's coming through on the stream but you can hear it's almost like the boom operator moved and that you could just there's this like it almost sounds like a heartbeat it's not a heartbeat there's there something cause I'm kind of rumble there so again we could treat that individually there's a couple things we could do to kind of finesse that to fix it but you could just hear that these are the kind of things that we're listening for when we're trying to mix the sound to video here right if we're trying to make this better all right nice this is great ear training I've never listened for nuance and audio capture Eric yes I mean and that's that's the key and that's really what sets apart you know a pro sounding mix production versus an amateur one you have to critically listen because the idea is we want that dialogue to sound consistent we don't want one to sound echoey and the other to sound dry one to sound mid-range e and the other to sound overly base e they should effectively sound the same now yes you do want potentially ambient changes and depending upon how we you know we can also decide like panning position maybe when it's in this kind of wide shot you want it to feel more like they're on either side maybe you really want the audio to be centered that's typically where I would put it I don't use too much panning for dialogue unless it's part of the scene like when you when you have people on the phone that kind of thing and they're the camera is shooting people in different you know different sort of quadrants of the shot right you know if you're using your like rule of thirds if someone's kind of on the left and the other presence on the right maybe then you take advantage of stereo panning typically though for dialogue you just want it in the center because that's that's your story that's your message and it needs to be clear all the time all right okay so just because Eric asked here I'm going to jump a little jump ahead a little bit and just kind of talk about compression all right now compression for audio means something very different then sort of like file compression all right so compression for audio is we're trying to adjust the dynamics the dynamic range okay and what I mean by that is now again these performances are fairly consistent okay but think about the way that you normally talk if you're speaking kind of a normal tone like this and then you get excitable and you're shouting right your volume and if you were to look at a waveform the dynamic values of your volume jump all over the place right if you're just kind of speaking like a robot and very monotone and not changing and being very very consistent it's just going to be flatlined like this and you don't have to worry about controlling dynamics but we don't speak that way I mean some may so you use compression to even out those Peaks and to kind of squeeze everything so that it's just very present another way to think of this is kind of in your face right just very consistent and even alright and when you have multiple pieces of dialogue all right this is an opportunity again to just make everything very very consistent now before removing noise typically again I would apply compression to everything after all of the clips are cleaned up but because it was asked I'm gonna go ahead and jump into this right now here's what I would do to kind of bring all this dialogue together so that it's just kind of consistently dynamically evened out we're gonna add our basic to bottled compressor to this group dialog fader here okay so I'm going to come up to dialog let's click on our flyout arrow here and we're gonna go under amplitude and compression tube modeled compressor all right and then we'll double click on the effect slot to bring up the compressor itself all right now compressors are quite honestly you know if you think about hurdles in illustration like what it what is your main hurdle in illustration or using you know is it color is it brush stroke with whatever similarly with photography like what's your you know is it understanding lighting and aperture well with audio mixing compression is is that hurdle for most people it's probably it's the most it's the most challenging thing to understand you have to understand how it works and then once you understand how to set it it'll change the way you mix forever for basic compression for all compression there are five essential parameters that determine how that compressor works threshold ratio attack release and then output or make up game threshold this is this is phase one the threshold means this is the point at which come oppression begins so what you see here if you look at this very simplified interface so over here on the Left this is the this is the the input level of our audio when we're playing it back and I can go ahead and play this so you can see it doing something okay so that's the input level of the dialogue of the audio coming in and then this meter here this is what's called our gain reduction meter and this is showing you how many DB above the threshold you're going now your audio must exceed whatever this threshold is in order for a compression to begin and it works in tandem with this setting here called the ratio alright now I don't know why we have this X here that's really unnecessary but you'll always see the ratio is something like two two one three two one five two one eight two one all right we're gonna set this to three two one this is typically what I'll use for dialogue for something like this for an episodic piece and what that means is that for every three decibels above the threshold all right it's one DB at the output okay so what that means is that I must see this light this would be three right here I must see at least three decibels of gain reduction going on there for this to be compressing at all if I don't see any lights in this meter right here we are not compressing and this is typically what happens to people is they don't adjust the threshold correctly they don't know what the ratio is and then they're just adjusting things like output gain like oh yes it's louder a compressor is effectively an amplifier but you must come you must actually adjust the threshold properly to make sure that it's actually doing something now the attack time is how quickly the compression begins to kick in in other words once that signal exceeds the threshold and you'll see what I mean in a second here the attack is how fast it compresses or squashes it down and then the release is after it's compressed to the signal how long once it drops below the threshold it takes to go back to normal so in this case it's currently set to ten milliseconds so that means once it exceeds that threshold within ten milliseconds it's gonna squash that audio down and then after a hundred milliseconds it's going to release it back to its normal volume assuming that it's fallen below the threshold confused [Laughter] like I said it takes a minute to wrap your head around this now I have discrete compression training videos on my youtube channel Jason Lavine video as well as on various master classes and things here on Adobe live and the Creative Cloud YouTube channel so you can just search for me and look for audio compression I can also tell you there's an audio 101 lesson it's it's lesson 8 audio 101 on my youtube channel it's all about commits an hour on compression so you you'll you'll walk away from there knowing how to do it very difficult to teach this in 10 minutes but that's the basic concepts here so again with a three to one we need to exceed the threshold by at least 3 decibels to be compressing at all now for dialogue like this I typically set this to around nine milliseconds and then for my release time when I go a little bit longer let's do around 155 milliseconds here all right we're gonna wind this back and I'm gonna start adjusting my threshold slider here all right probably gonna need to be here somewhere around minus 30 ish and once I see the gain reduction exceeding 3 I know that I'm working that this is happening properly alright let's take a listen and I start to adjust this in real-time here we go no I mean let me solo all three of these Aimee just she split and took to the hall she she came to see me you see she's what they call professional and you're what they call can't win for losing ok now you can see I'm peak reduction mic peak reduction here is hitting almost -12 so remember for every 3 DB above the shoulde it's 1 dB at the output so that means when it exceeds 3 it's one decibel at the output when it exceeds 6 it's 2 decibels at the output when it exceeds 9 it's 3 decibels at the output and when it exceeds 12 it's 4 decibels at the output does that make sense now I'm squeezing this down pretty significantly just so that you can kind of hear what this is doing but you should be able to hear that it's really kind of squeezing things down it's going to even them out now once you squeeze it down this is where you then use the output game to kind of bring it back to that sort of original level so everything should just kind of sound consistent now we've got noise and other things that we need to treat here pay no attention to that we're just trying to kind of even out those levels because they are getting a little bit excitable right and hit that one guy's kind of he's got that kind of angry growl and the other duty is right so different tonality x' affect the waveforms differently we're just trying to get everything very even and kind of in-your-face all at once all right let's keep listening here and we'll make adjustments accordingly you just lost it besides I gave you the tools I gave you the phones I gave you the scripts I told you what to do okay so case in point here notice with this off how much kind of louder he is besides I gave you the tools I gave you the phones I gave you the script let's turn this on so again now we're squeezing this three-to-one right listen to the difference in amplitude I told you what to do I told you how to do it all right now I might back off the threshold a little but this is where we're going to use that output gain to kind of make it maybe not quite as loud as it was but just to kind of bring everything up just a little bit again to kind of just even out the overall sound of everything and we can still make individual tweaks to levels of the individual cliffs you know if one clip is just particularly a little bit too loud that's what we can adjust those on an independent basis look I don't care but Dwayne I don't even have any of the money Amy just she split and took her the hall she I talked to Amy she came to see me you see she's what they call professional and you're what they call can't win for losing she tell you she took it all she took the whole damn score alright so you can see now like everything's kind of sitting right there it feels like it's a bit you're like really in the conversation now all right now we could back off on this threshold I'm compressing this a little bit more for the stream just so that it's a little bit more obvious to you but what we're trying to do is again even at the dynamic range he's getting excitable he's kind of in that angry voice and you know watch any good film I always always reference some of the best sound mixing is is in the the first two oh my god Keanu Reeves ah matrix the first two Matrix movies and you'll notice that when there's you know whispering or shouting the volume the amplitude is the same alright that's kind of a key of using compression properly so that you're not having to lean in to hear it right that's a good use of compression all right so we're dare I say flattening the curve above the threshold how inappropriate Cal no but yes actually that's that's basically what you're doing there that's actually a really good you are you're you're trying to flatten out those dynamic Peaks that's that is exactly what you're doing now just to be real clear here when you hear like compressor limiter or compression or vs. limiting a compressor limiter is the same effect they're the same thing the difference is the ratio for ratios below ten to one you are compressing four ratios above ten to one so ten to one twelve to one twenty to one infinity to one you are limiting all right so the ratio is determining the difference in and and what that the difference is think of it this way when you're compressing up to around ten to one you're squashing Peaks down when you're limiting 20 to one you're not only squashing Peaks down but more importantly you're raising quieter audio up so compression is you're bringing the top Peaks down limiting is you're bringing the softer stuff up alright so you might say well then why not just limit everything well because limiting also has some other byproducts of just making everything very very intense you know you don't necessarily need to limit voices unless there's like you know screaming and and and whispering on the same track or something like that limiting drums limiting music different and sometimes limiting voices but in the case of dialog you're generally not limiting dialog you're compressing dialog or just trying to even out or flatten out those dynamic peaks okay Sam is there anything about premiere you don't have a video for there are very few things I'm sure there are a few I'm sure I don't have anything specific to captioning that's new you have to go back about five or six years I've been having a lot of requests for that so some point I'm gonna need to tackle those all right yeah soon re how are you okay Richard Newberry presets it make it much easier for novices okay so that's it that's a good that's a good comment Richard actually I'm gonna tackle that right now so here under the preset menu we do have a lot of presets alright and these can be good sort of starters for adding compression here's the problem with this alright and this is not based on premieres it's not based on audition or Pro Tools or Final Cut or anything these these are just random values in other words there's no specific threshold setting for dialogue because it's all based on how you recorded it so if you were to go into something like the voice leveler alright and here I I know my set so what are we at - 30 - 6 3 9 155 ok so that's that's where we need to be let's go into like oh you know what I think I want to level things out let's go into the voice leveler here alright well first and foremost look at what the voice leveler did the threshold is minus 10 the ratio is 12 to 1 so remember I need to have at least 12 decibels of gain reduction happening on screen for this to be doing anything right so if I play this back let's turn off the effect it's not doing anything why isn't it doing anything because the threshold isn't set correctly right so you would have to then know ah I need to adjust the threshold so if you adjust the threshold okay I would have to go in here and adjust that threshold and again based on this ratio of 12 to 1 for it to be working correctly that gain reduction meter has to be hitting 12 or going beyond it all right so I love presets I'm the first to say presets are a great starter for compression it's it's a hard sell for me because and I've see I've seen this in so many countless training videos on YouTube I can't even tell you where someone's like okay so I'm gonna take the leveler here and let's put it on and hit play and look at that it's better it's not compressing it's not doing anything now in this particular one voiceover there's added game here so you've amplified everything four decibels but you're not compressing anything all right so you amplified the voice but you also amplified noise you didn't change the dynamic values at all so boy presets are amazing I fully agree understanding how the effect works though will allow you to leverage those presets more effectively and really if there's if there's two things you need to know its threshold and ratio right threshold is the point at which compression begins and the ratio is for every X decibel that it exceeds that threshold 3 3 4 8 in this case it's 1 decibel at the output if you understand those things then go mad with the presets does that make sense all right enough is saying compression master class is the knowledge I never knew I needed yes ah didi as I've been d-dead attained with premier for years and I never use those tools Thank You awesome great very glad to hear that love that okay now so Dario thank you very much it's very cool all right okay so again I'm I'm like absolutely you know Pro presets you've heard me say it on other ones here but like I said I think the one exception to just using them in a scenario where you effectively just get up and go is audio compression because it's so specific to understanding these two values if you don't have these two values set correctly the compressors not doing anything and there's plenty of these presets where there's a lot of output gain added so you might hear like dialogue gets super loud and think oh yeah that compressor sounds amazing but it's not it's not compressing it's just amplifying so what that means is when you go to export you might have clipped meters or peaking meters and it's gonna it's gonna get messy it's not gonna be very good okay so we're back to where we were I've set this back to our original settings here okay and this is again going to be an overall setting that we'll use to kind of even out all those dynamics very cool alright so I'm going to go into a little bit of Equalization okay and we're gonna tackle both music and dialogue simultaneously we've got about we've got about thirty minutes more here and this should kind of inspired I'm going to disable this this effect for the moment here this should this should kind of inspire you to to explore using equalization a bit more and we're going to start by using this music track okay what is up Desiree hey ton Eric super helpful thank you okay all right so let's start over here with music one unmute this alright so take a listen to this music that we have on here bring this back up and bring up the level I did okay here it is okay so this creepy soundtrack here is something that I created with my oft collaborator Fett Fung and you can hear even what we were playing this before like against dialogue this just has this got a lot of high-end it's got a lot of brightness to it and as a result its conflicting with the vocal frequencies okay now yes I could drop the level of that obviously but what I really want to do in the case of this scene we're trying to create tension alright so what I want to do is I want to kind of dark in this audio track and in fact I want to get rid of all of the brightness and just kind of leave those percussive low end and low mid-range II tones that kind of ominous kind of sound and it's really gonna change the way this whole thing feels so to do that I'm going to leverage our parametric equalizer okay which you can find again by going to the filtering EQ section here and choosing parametric I'm going to turn it back on I've had it disabled and let me double click on this to bring it up so all I did on this particular example here is I used what's called the low pass filter ok a low pass filter sometimes used in conjunction with a high pass filter is a way for you to allow low frequencies to pass through by cutting off high frequencies okay low pass equals high cut high pass very Burpee today high-pass is the opposite high-pass allows high frequency to pass through low cut cut eliminate low frequencies and you can see that I rolled off everything up to around six hundred and fifty-two Hertz now to put this in perspective I've got all the dialogue back on here let's go ahead and bring this back to where it started 24 K I've also adjusted this to cut 30 decibels per octave I think the default is 24 this is just basically the aggressive the aggression of the curve here's like 6 DB per octave you can see it's like this a steeper curve 12 an even steeper curve 24 an even steeper curve 30 all right so really aggressively cutting off kind of at this centered frequency so I'm gonna play this back and I'm just gonna start cutting these frequencies going all the way down to 653 and listen to what this is doing okay here we go okay now you can hear the dialogue coming through more clearly obviously because we've eliminated all of the high end from there now again we still may need to adjust the volume level of this but right away before even adjusting volume before adjusting amplitude now the dialogue is going to sit there much more comfortably in fact let's just bring this down around minus 8 you just lost it besides I gave you I gave you the phones I gave you the scripts I told you what to do and I told you how to do it okay suddenly now that dialogue is really poking through no I'm not saying use a low pass for everything this particular track this is what it needed right to create that slightly more ominous field now this one also has a lot of kind of low-end rumbly bits so if I wanted to eliminate some of that not too much because I like it that's kind of what's making this kind of ominous we could theoretically use a high pass now by the way interesting choice for me to start with these these are very aggressive filters all right so don't think of this is like oh I'm just gonna low pass High Pass all of my stuff that's a great way to equalize I mean perhaps we're gonna get into more parametric stylings when we get to the voice in just a second here all right but for eliminating large groups of frequencies high pass and low pass are key all right so just a case in point if I wanted to eliminate some of that kind of subsonic Rumble I could implement the high pass filter here all right so again we're gonna do the same thing well I'll set this to twenty which you're not going to hear anyway and then I'm going to start to roll off the low end I'm using a slightly less aggressive curve in fact I might even do minus eighteen here all right and take a listen to what this does she's what they call professional and you would think I'll gain win for those she tell you she took it off the whole damn score what she did is she paid me [Music] actually that sounds pretty sweet so we got rid of all that subsonic Rumble which you know might be cool now I I don't mix in headphones typically so I'm not listening through my subwoofer maybe I would back that off to around minus 80 but effectively as you can see what that's doing is everything below 124 Hertz at 18 decibels per octave so it would be way more aggressive if we did that we're still letting some of that 120 110 even to around 90 there's still a bit of that kind of percolating through but essentially after that all of the sub Sonics are gone so this is a good way to just kind of focus in this particular music track to create that kind of low mid-range ominous consistent mm right this is a very tense scene now let's play this back again with these both implemented let's start with it off and then we'll kick it in you're just gonna hear how that dialogue pokes right through okay pretty cool right Steve Hughes is it possible to keyframe the EQ to bring the basin as the scene progresses excellent question Steve Hughes and the answer to that of course is yes yes you can all right now this is a slightly more advanced process here but we've got time so I'm going to show that to you that's what the interactive nature of these streams is all about excellent questions Steve let me go ahead and while I'm at it the one other element that I added to this was a little bit of ambient reverb alright and that's nothing really just to give it a little more space so if we just solo this music I'll let you hear what the reverb sounds like off and on so here it is off first and that's go ahead and turn it on right here it's just it just sounds a little bit wider all right I could even give it a little more early reflection gives it a little bit more an ambience there I'm 21 percent okay didn't change it significantly just it's nice with music sometimes to give it a little bit of a wash by adding a little bit of ambient reverb it's just gonna it's just gonna give it that kind of swirly I mean this whole thing is meant to be the way that I saw this scene I love this actor it's tense but it also kind of has this creepy 60s 70s you know like slasher film vibe I don't know why to me it just it feels like something dark is about to happen just the whole color and the grade and the look of the scene too kind of lends itself to that so a nice a nice wash of some reverb can can affect that okay so to answer Steve's question is it possible to keyframe changes in your audio effects yes it is I'm going to show you that now so what we're gonna do is we're gonna come down to the audio clip in question now again this is where color coding is so so important right okay and I'm gonna zoom in here so you can see this a little bit more accurately and under here you'll see that we have this little button that says show keyframes and if I click on that you can see that we are allowed to see clip keyframes all right you can edit the current effect and then you have for each of the applied slots your parametric EQ your studio reverb and then your individual track keyframes again those are global for volume and mute and for pan so in this case with the parametric EQ alright if I wanted to adjust any one of these particular parameters I would select them here and in this case here's our our low shelf frequency now by the way I want to point out it just so happens because I'm using the high pass and low pass filter for whatever reason the high pass specifically and low pass filters are not part of the automation in this particular effect it's just it's just native to this particular effect I don't know I don't know why I don't know why but it is it's just this one particular effect here all right so that sucks but that is the way it is all right so you have your low pass and high pass low shelf high shelf here all the other parameters are adjustable so just to kind of show it to you here and you can by the way we could do that if you wanted to bring in the base with something like EQ one you could do it that way all right in fact here I even maybe I'll even show you that so let's do this we'll do let's do our EQ one to our low shelf frequency all right so now this line that we see here represents I'm trying to see if it's going to give us a little tooltip it's showing a tooltip here yes so can you read that oh it's all screwed so right now we're at 40 Hertz okay oh wait a minute is this actually allowing me to do that all right and you'll see that it's now adjusting this frequency these increments are very very large between 40 Hertz and 2500 Hertz all right so if I were to play this back take a look here this is our low shelf frequency all right again not the high pass frequency the low shelf frequency it is now automating that change over time take a look here all right I'm gonna zoom in I'm gonna hit play and no hands so those values changing okay that's how you automate it again unfortunately the high pass and low pass frequencies those are not part of the automation scheme specific to the parametric equalizer i I don't know why I've asked before I don't remember why that is but all the other parameters are and similarly for any other effect so let's say that we wanted to adjust the reverb parameter over time all right let's go into studio reverb and let's affect the wet output level this is something that you'll actually be able to hear pretty pretty easily all right let's bring up the studio reverb here so here's our wet setting so let's set a keyframe by the way I'm hitting the command key or control key and windows to set a keyframe and by the way it tells you the tooltip that it's currently at forty two point eight nine percent so I'm going to set a keyframe by hitting command you can also just hit the keyframe button right there add remove keyframe set command again set another and then I'm going to increase this now what is this level 81 percent let's just do a hundred percent wet right here pretty quickly alright so take a look at the wet slider here and you should be able to hear this adjusting that wet parameter as we go here we go all right here it is okay and if you're listening in headphones it just got a little bit more echoey sounding so we had just adjusted the wet balance of the reverb over time all right pretty cool nice awesome nuff thank you very much all right so Steve did that answer your question getting to see the animation and again it works it works the same for all of these okay again the one exception being that we don't allow you to automate the high pass and low pass this is a really common thing because you know think about so much pop music uses this where you have that kind of like over time really common you just can't do it with that parametric if you use a lot of your third-party plugins that have low-pass high-pass you can typically do it in all of those I'm a big fan of waves and whether it's the waves SSL EQ man American EQ all of these allow you to automate the low pass and high pass filter parameters just for whatever reason our parametric we can't do that okay all right so that's parametric EQ using low pass and high pass for music to allow these things to kind of push through we've got 15 more minutes I'm gonna show you some individual sweeping use of the parametric on that on that dialogue to get rid of that room room noise and ambience I want to do one more thing and show you just one more thing with the second piece of music that we have here so while we've got this kind of creepy ominous thing there was this other music track these creepy choirs all right now I'm not gonna get into all of it I just want to show you that in terms of sound design that's all this is it's just a loop of these creepy mellotron choirs those are actually noise between the joins there I guess there is I didn't even notice that I need to put some crossfades in between they're smooth those out might as well do that right now if you're hearing stuff like that and actually I don't I don't know if these are gonna apply let's see if they do I didn't I didn't leave myself enough to crossfade between them yeah that'll work I'm just taking the constant power and dragging this crossfade between these clips to eliminate that little snap crackle pop that you heard in there all right that was because they were joined at the Edit boundaries and they were not on a what's known as a zero crossing okay now it's smooth [Music] okay and in the track mixer here just to give this a little something extra I used a combination of analog delay and flange so the delay is going to give this again repeats whoops it's going to repeat this over time and you're not really going to hear this because it's just one consistent tone but it's gonna provide this kind of feedback ii echo so let's go ahead and turn this on and take a listen adds a little bit of distortion in there and then under flanger I used this effect to again kind of really dirty things up now here's what it sounds like with just this I did a basic setting here of a very slow flange now a couple of key elements with using a flanger understanding how the feedback works and the modulation rate the modulation rate is that it's displayed in Hertz or beats but that's the period in which you're getting that kind of rotating swirling effect so to be able to really hear what modulation rate you need what it's doing increase your feedback first it might get a little loud because we may need to adjust your wet/dry here alright and then adjust the modulation rate and you'll hear what it does higher modulation rates but a little bit they're gonna vibrate very quickly slow it down and just take a listen you'll hear what this is doing alright so that's it like 12 Hertz [Music] all right and I have around 0.4 creepy slow dark ominous love it and then in conjunction with that music over top of it now okay now one of the other things that I might do here is for the first appearance of this I'm hovering over the the fade that I placed on there the constant power fade and you notice that my cursor changes icons this is going to allow me to adjust the duration of that fade so I want this to kind of fade on very slowly all right so when it appears let's bring the dialog back in here it's gonna sound like this she tell you she took it off she took the whole damn score what she did is she all right okay so now that we've done that checking back here fantastic leo saying nice alright Tony yes works the same an a you okay let's tackle some individual EQ here it's probably be our last thing and then we'll place back that compressor on there for this first clip now this is going to actually use a little bit of that essential sound panel because I want to fix the boxiness of this particular voice over here a lot of talk do anyway she came to see me you see she's what they call professional alright so what we want to do first before we attack before we tackle the boxiness it also it needs some it needs some EQ but it also needs some denoising so part of that boxiness is again it's capturing the room ambience now you can try and eliminate some of that with EQ unfortunately and I can just hear this by hearing the nature of his voice he's got a lot of richness in that low mid-range so if I try and cut out the boxiness the the room sound with EQ it's going to cut out some of the fundamentals of his speaking voice as well so instead I'm going to use a combination of D noise from essential sound to get rid of some of that background ambience that's very different from the previous speaker and then I'm going to use a little bit of our D reverb effect alright and D reverb is very effective for attenuating or softening room ambience or room reflection or room echo all right can it remove very echoey large space reverbs I mean with varying degrees of success yes where it's really effective though is just for softening or just just gently eliminating some of that you know if you're sometimes like in a kitchen kitchens are notoriously echoey or bright d reverb can just take the edge off of that and just kind of refocus something like a voice alright so first thing we're going to do is with a central sound panel here I got my clip selected down here and I'm going to tell essential sound that this is dialogue and when I do that it's now going to reveal to me a whole series of effects and filters that I would commonly use to process dialogue and the one that we're going to focus on is in this section here called repair where we have a whole bunch of options reduce noise rumbledy-hump D s and reduce reverb and we're gonna focus on the first two here so first time for what I'm going to do is I'm going to set in an out point on my timeline for this dialogue because I just want to kind of loop between these pieces here and we're going to engage reduce noise I'm going to set this to zero first we're gonna play this back and I'm just going to enough that adjust that noise reduction slider till it gets rid of enough of that room noise all right and then we're going to use the D reverb here we go she can't see me you see she's what they call professional and you're what they call can't win for losing if I talked to Amy she came to see me you see she's what they call professional and you're what they call can't win for the night let's turn it off if I talk to anybody she came to see me you see she's what they call professional and you're what they call can't win for losing a lot talk to any me she came to see me you see she's what they call professional really nice it's around 6.2% here it's really 62% nicely kind of got rid of some of that now if you're not in headphones you're probably not hearing it what's cool about this is if you are in headphones it's not dramatically or really in any way changing the sound of the voice here okay that's kind of the key we don't want it to be artifact it now the second step is reducing the reverb again some of that room boxiness so similarly I'm going to start with this at 0 let's play this back and then I only need to go around 20% just kind of get rid of some of that room edginess here we go and you're what they call can't win for losing she can't you see she's what they call professional and you're what they call can't win for losing let's turn everything off here we go you see she's what called professional and you're what they call can't win for losing a lot talk to Amy she came to see me you see she's what they call professional and you're what they call can't win for losing all right if you're in headphones you could definitely hear that so we got rid of a lot of that just the ambient sound could have been an air conditioner any number of things when they were doing this live and then reduce some of that room boxiness with reduce reverb all right sweet exponential fade is my fav nice Eric all right now in conjunction with that and these two audio clips that live on this track have the exact same characteristics I'm also going to use a track parametric equalizer to again further get rid of there's just some low mid-range boxiness that that I'm just not loving alright so let's go into our filter and EQ parametric EQ by the way why the parametric I love this effect because one it's very musical sounding it's very subtle but it's very effective and it really gives you a good you can get a very good audible sense of like what frequencies sound like particularly as you sweep through so we're gonna do two things here I want to boost up a little bit of the low-end to give him a little bit more warmth again because the the how this was tracked we're just getting a bit of the brightness from the room but also get rid of some of that low-end I can hear in the low-end there's something that's resonating all right there's a sympathetic resonance there's something in his voice that actually with the room is causing it's known as a sympathetic beat or sympathetic resonance if you've ever if you sing in the shower you know there's certain frequencies notes that you'll hit where it just rings now to your ear it sounds good when you're tracking a voice in a room if the if your voice is ringing with the room that's not good the room is resonating so we want to find that resonance and get rid of it and my guess is that somewhere between somewhere between two 200 275 300 somewhere in that range so what we're going to do is we're going to use the second band of this parametric EQ alright we're going to use a fairly narrow band width okay and by the way just to showcase what band width means that's how narrow or how much it affects adjacent frequencies this would be a wide bandwidth with a very narrow bandwidth and I want to very narrowly identify the problem frequency and then take it out alright so the way that you find those problem frequencies is you're first going to boost and then you're going to sweep which means adjust the frequencies left to right until you hear it resonating and once you hear that then you pull it out alright so let's go ahead we're gonna start at zero here start this at around 170 let's play this back and listen she can't see me you see she's what they call professional and you what they call can't win for losing a lot talk to me she came to see me you see she's what they call professional and you what they call can't win for losing have I talked to any man she came to see me you see she's what they call professional and you're what they call can't win for losing I don't know if you could hear that we've only got two more minutes you start to get this almost abundance of distortion that was his low low end of his voice at 250 Hertz maybe it's even a little bit higher resonating with the room and I pulled that out 14 dB alright similarly now or dissimilarly now we're gonna add back in just a little bit of of warmth of low-end warmth with a cue of around four let's go I already know what I want to do around a hundred Hertz and you're gonna see I'm just gonna boost up a hundred just to warm this up ever so slightly you see she's what they call professional and you're what they call can't win for losing all right turn it off you can't you see she's what they call professional and you're what they call can't win for losing all right so now if we were to disable everything here's the before I talk to anybody she came to see me you see she's what they call professional you wouldn't call can't win for losing have I talked to any man she can't see me you see she's what they call professional and you're what they call can't win for losing right so much better significantly better okay so now we've done that all right you've seen how we apply a little track parametric EQ let's go ahead and kick back in that global compressor right here and let's just play this back and take a listen to what we got I don't even have any of the money and Amy just she split and took kind of all cheek if I don't date she can't see you see she's what they call professional and you what they call can't win for losing she tell you she took it all she took the whole damn score what she did is she paid me what she owed me for her half of it oh you got it you just lost you just lost it that ain't my fault besides I gave you the tools I gave you the phones I gave you the scripts I told you what to do and I told you how to do it alright so my friends that unfortunately is all the time we have all right hopefully you learned a couple of new tips and tricks today again I invite you to check out my audio 101 series on Jason Levine video which is my youtube channel you can find again additional master classes here on Adobe live so much more coming up we've got the Photoshop daily creative challenge coming up next so until then stick around have a great rest of your morning afternoon evening wherever you are in the world and we'll see you again next time thanks everybody for watching take care bye bye you

Channel: Jason Levine

Views: 3,513

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Id: q88Nntri3YQ

Length: 87min 16sec (5236 seconds)

Published: Wed May 20 2020