Video & Audio Masterclass - Sound Design in Adobe Audition | Adobe Creative Cloud

[Music] [Music] okay it looks like we are live how is everyone today good morning good afternoon good evening wherever you are in the world my name is Jason Levine and such a pleasure to be here on Adobe live with all of you today talking about something very close to my heart sound design in Adobe Audition this is going to be part 1 of 2 so next week we'll do kind of a continuation and finish up the video that we're working on this is some new content I'll reference some earlier content first just to kind of give you a little bit of context and I'm essentially gonna go through a bunch of my own personal tips and tricks for cutting sound to picture particularly where you're having to add things like you know special effects and Foley and ambient sound and really just some best practices for doing that additionally we're going to talk a little bit about some of the things that I did for this particular production that we're gonna work on here which is leveraging Adobe stock content because I couldn't find all the sound effects that I needed so I'm gonna show you a couple of places where you can acquire sound effects free royalty-free ones which are very cool some of which actually shipped with audition some of which you can find courtesy of the BBC because about a year ago they made 25,000 of their classic sound effects available to you so you've got a lot of options out there and then of course there's gazillions of sound effects libraries that you can purchase some of which I have too and a couple of which I'll use some of those files and examples with the stuff that we have here so I'm just to point out too with this particular master class unlike my daily the live streams this is the live interactive chat version so I'm watching all watching all of you that sounds creepy I'm watching all of you in the chat and I'll be able to respond as things are happening so it's great to have you all here and I hope your hope you're up for some intense intense sound layering you just saw Paul do some amazing stuff with layers in Photoshop well that is really what sound design is about it's all about layering layering sound to create a punch to create an explosion to create whatever it is seldom do you have one sound that does it all it's all about layering and getting creative with layering and effects and processes and time stretching and we're gonna cover the bulk of that today all right so as always thank you so much for joining let's go ahead and switch over to my screen and I'm gonna quickly show you an example of something that I did actually on before well I guess did we call it a Dobby live then Tim I can't remember and I just use this as an example because this is already done and it kind of shows how things are stacked up layers of sound to build something against an animation so a couple of years ago we had our good friend synapse who many of you may know on Twitch and he created this amazing animation for what we were then calling creativity 360 which you can see on the screen here so he delivered this super cool animation and part of the Adobe live stream was that he was building this animation in cinema 4d and After Effects and then I did the live sound design over about three days much like the streams that we do that you see every week you're on Adobe live so let me go ahead and play this back for you so you can kind of hear everything actually you know at first let me just play it without sound so you can get an idea of what it looks like so this is the animation very sci-fi it's a title sequence animation right so you got a lot of movement here sign apps just a genius creating this stuff all right nice little glassy explosion there particles all right and then of course to make this really pop to make this something that's going to move you it's all about the sound design so let's take a quick look and a listen now to the final version with all of the sound all right [Music] okay so every every time you see something on screen that catches your eye whether it's a flash of light or they the twirling of the text or whatever it is all of those sounds need to be designed now for those of you who work in like animation and cartoons this is also known as Mickey Mouse Aang so you know when a character if you remember if you've ever watched any of the classic like Mickey Mouse cartoons or the old Merrie Melodies you see a character walking and they would do something like usually that would be like with a xylophone or a marimba or something every action that causes your eye to react has to have a sound kind of attached to it to really sell it you don't it's not a have to you can do whatever you want but if you really want to sell all that motion all those elements it's all about again layering and getting creative with what are those things even sound like now all the sounds contained in here were actually accessed via the Adobe Audition Liu Balaji sound effects library which in audition if you go up to the help menu zoom in here for you and you'll see right here it says download sound effects and more so here let me just go there real quickly let's see this opens up our browser here there you go and you'll see this is an old page we never even rebrand in the page here but right at the top sound effects 27 bundles 10,000 high-quality sound effects you go into view downloads they're all zipped up collections based on different types of sounds that you would need so in this case things like ambience animals cartoony sounds like I was just talking about crashes drones fire explosions Foley footsteps impacts industry impacts could be useful for the thing we're gonna do just in a bit you know production elements sci-fi sports technology transportation can imagine when you're doing sound for video you know someone closes the car door you might get lucky capturing that sound onset but chances are is this going to be sort of far away and off mic and off axis and it's not going to be enough so you've got to replace that well this has hundreds and hundreds of vehicles and we even list out like you know a Chevy Silverado truck nineteen ninety five passenger door closing passenger door slamming all these kinds of things it gets very specific in the metadata these files so just to quickly show you this is where you can access all of those and download this is not a follow along but if you want to start augmenting your productions with royalty free sound effects you have access to them already as CC members all right cool what am I seeing here the genius Carl strolling with the Merrie Melodies cartoons soundtracks he'd watch the film once and score it then play with his full orchestra yes I'm all about that too actually the music for this was created in the same way I was very inspired by Carl and yeah super cool yeah tim is going and twitches signature purple color yes indeed okay so again every single element that you see in here all these little blips of light in fact there's one right here I mean is that what light sounds like no but there was this action on-screen and I needed something to draw your attention so that little which is part of the sci-fi sound effects just kind of did the trick now again in terms of layering when we look at things like this text coming into its stopped position so it's twirling right there's this huge super cool this is from the sci-fi collection let's see what does it say electronic fluttering noise here you might say how did you get the tempo just right I mean I didn't it just I just lined it up and it sort of worked we'll get into that in a moment there are things you can do to adjust that generally if it's within sort of around the same tempo it's just gonna look right it doesn't have to be exact because your brain kind of smooths over any of the inconsistencies as long as the sounds themselves are timed properly against the events now the first element though when it came into its stop position I used a door sound so we have a bunch of foley door slams in that collection so here's what that sounds like let's turn the world not very dramatic right so I needed to I wanted it more metallic sounding so I found foley metal pounding so let's whine this back and take a listen now we've got the door and pounding metal [Applause] and it's cool cuz you kind of get like the creativity 360 the two elements kind of closing together still not quite big enough I found another one metal sheet tapping alright so here we go now you have this nice kind of metal vibrating metal sheet almost like a plate reverb and then the last one here this was look at that Chevy Trailblazer door closed interior okay so that's what this one is so all together and if we put our twirly sound back on there and similarly with the explosions it's a combination of things so let's put all that on now and if you take a look it's again to files here for the explosion let me show you so we have one which is blast debris fire heavy crackle the crackle has some of that nice glass element to it but I wanted more more sub and that's what this explode thud track is representing so another separate clip of that layered together pan in stereo you just get this massively big beautiful sound okay so it's all about the layering it's all about timing these things correctly and as long as it matches the action on screen it's it's pretty I mean it's just fun to do takes time okay so let's get to it so I'm gonna close this and let's go ahead and open up the project we will be working on all right what's up and a bracket okay so here is the scene that we have this actually came to me from there were quite a few quite a few requests for like you know punching sounds how do you do punches punches are really hard we'll talk about that in just a second but let's go ahead let me play this back so you can kind of see this is really short I think I did about 15 seconds or 10 seconds here so here's the clip coming to us from premiere it's Adobe stock footage alright so a lot of fast motion punches here then it cuts to a slow-mo bit where we see our friend and the blue trunks just get pummeled and slammed against the corner of the ropes there okay so as you're looking at this what you need to be thinking about is what elements of sound do I actually need because something that you need to keep in mind when you're doing sound design is that punches you know if you watch real boxing punches don't have any sound they don't it doesn't even sound that good you know it's just it's just flat alright when you watch a film and I recommend highly I left I mean you could even watch like Creed or something today I went back to Rocky three earlier this week and I was rewatching the final fight scene it hasn't changed all that much the sound mixing is a little different it sounds a little dated but the punches in the way that it's done is so just oh man it's over-the-top and puts you on the edge so but there's all sorts of elements that are involved in getting those sounds so when you're watching the video you need to think about first and foremost what elements of sound or action do we need do we need to Mickey Mouse do we need to mimic with sound design so obviously for this number one punches and we need different pitches right something that really sets apart good sound design from bad if every punch is it's like the same tonality yeah I mean it'll work it's just gonna sound cheap you know there's something people will watch them and they something's off what's wrong they may not even know they're just gonna it's gonna feel wrong all right different pitches different weights and intensities right an uppercut right is one kind of hit with a certain amount of intensity but maybe a jab to the to the chest is a little more staccato and just again deeper not quite as bright so you need to have a concept of these things because you can also modify them live in the multitrack slaps and claps right to add some brightness or attack there's a scene it there's a pit there's a frame or two in here where they bump gloves right so that's not gonna be a kind of sound that's a different sound so I did some slapping and clapping I'll show you in a moment to kind of simulate that whooshes right whoosh is so universally useful universally useful it's so useful in so many different types of sound design right and I wrote on there swing and Miss intensify slow-mo because you think of whooshes like you know you can do it with car sounds you can do with your mouth but watch again watch Creed watch rock III watch any Rocky film when there's a Miss like clubber Lang misses now does it really sound like that no of course not you know like we're moving massive amounts of you know of air but that's what sells it right that's what intensifies the mists and he's so angry right so whooshes intensifies slow-mo right it's like a crescendo to the hit and then that same punch right talk about different pinches pitches it's not going to be because if it's slowed down you're also going to lower the pitch of that right big or lower grittier dirtier all of these things we can do in real time and then the Foley sounds right because it's not just but it's the right it's all of that if this were on Twitch that would be a good clip right there right okay breathing grunting guttural noises now again you can temper how much of that you want right but to really sell it you need that and then the last two crowd an ambience right so again now we're in a in a gym boxing ring here we're gonna forget that for the moment I'm pretending this is like Rocky 3 so you'll see and I don't know how far we'll get before the end of the day today but I'll throw this in there just by adding in some of that crowd ambience which by the way and I'm gonna go to the site in just a second I found this on the BBC site it just it again it just kind of puts you in the environment right so all of a sudden and then you hear whatever it is hmm it just kind of sells the visual and then the last piece of course is music and you know as everyone knows music is really just used to enhance the intensity of the scene in this case that that edginess of a boxing match you know and that little cut going from real time to slow-mo good music it's just gonna you're just gonna feel you're gonna feel it in your gut you're gonna feel like you're getting punched and pushed into the corners okay so you always need to think about what do I need before you even begin all right okay now having said that I want to show you this site this is the last bit of web stuff before we enter making these things live here so here's the URL all right BBC SFX dot Acropolis or guk I'm even going to type it I'll type it in the in the chat right here BBC SFX dot Acropolis dot org dot uk' all right so amazing I'm sorry it's 16,000 not 25,000 made available there in wav format now here's the thing so many of these by the way and if you look at the categories I mean it's like never-ending atmospheres it's never-ending there are some things in here I don't even know what they are all right look at this braiding machines buckets buffers buffet building construction cans car parks canteens chains chair lifts chatter Cheers chickens children China chisels cicadas you just have so much amazing stuff in here all right so if we were to like escalators for instance and what you'll find is a lot of these it tells you the duration the category you can preview them right here okay a lot of these are from you know classic collections so let's say if I go to some of the crowd noise I think it was crowds alright crowds it'll actually tell you yeah so look these are like 1969 reprocessed means it was reprocessed or stereo because in 69 the BBC was still transmitting in mono and most of the capture for sound effects especially in those days was done in mono by busy English market 1967 crowd panics 1967 so a lot of these again and here's one from 72 right small group cheering it just depends you know a lot of these are gonna sound older they may not sound as sort of high five high fidelity as you're used to let's look at the 72 one here take a listen on this a very smooth future point being you have access to these 16,000 of them it tells you about your license abilities it's a little different you know for commercial use alright but it's it there's links for all that so you can check that out okay alright check on the chat real fast and [Music] okay mmm-hmm all right Thank You Darian okay alright so let's go ahead and import some sound sound effects that I've already kind of culled together from the loop ology collection that I showed you some from the BBC and a couple additional ones and I think I think I've already got this in here don't need to reopen that and boxing crowd loud you've got that okay so we're gonna open the rest of these okay now let's talk about punches for a second and getting creative with capturing sounds before we even edit them against the picture so as I went into our various collections I didn't find a lot of great punch sounds now a lot of how this is often done is and I wanted to do this yesterday if you punch things like meat you have access to a butcher shop you can get in you can like punch big slabs of meat that really does kind of simulate it's similar to skin right now you're still gonna need other elements there to give it like boom and power and contact and attack by didn't have any meat actually I made a tri-tip last night but I grilled it and then realized uh I meant to punch it first so I didn't do that so this morning post-workout I decided I'm gonna punch my abs and using my trusty iPhone with the standard voice recorder I'm gonna capture some sound and that is exactly what I did so you can see the file here AB punches em for a captured in mono and if you take a quick listen here this is gonna show you what that sounds like so this is me hitting my abs in the bathroom which is a little bit reflective which is good take a listen it sounds small right but you can feel it you can kind of feel that contact some of these have some good some good bottom end now what I did I liked the ambience but there was a little too much noise in here so I just cleaned them up ever so slightly by the way we are gonna add ambience back in on everything at the end that's another quick tip which I'll show you again we probably get to some of it today we'll finish it next week but you know having sound effects from different libraries means they're all recorded in different places different microphones different recorders analog digital so to kind of unify the sound you want to put them all in the same environment and a good way especially for something like this what we're doing action is to put them in a small ambient reflective space and you can use auditions studio reverb to do that and put it on a bus we'll set that up towards the end okay and again to get rid of a little bit of that just a little bit of the background ambience I simply used our real-time D noise effect here okay and this just works wonderfully we're not gonna go into details on this if you need that alright now coming back to some additional files here I knew that I those hits on my on my abs we're pretty good but I wanted more of the of that low attack right that's kind of what makes you feel it in the theater so something that I learned years ago was if you want to get that like that a bit of almost like a whoosh but it's the the power hit a pillow has to be I I have a tempurpedic pillow so it's very very dense it's fantastic it really and mixed together these things just sound like huge whopping sounds so here is me hitting the tempur-pedic pillow pillow punches all different pitches to just naturally so you can imagine that in combination with some slappy cracky in combination with a couple other sounds is really gonna deliver a nice punch right ok so once I have this if you're gonna record any stuff by yourself what I will typically like to do is to go inside and start making little regions sectioning off each of my favorite bits so to do that in audition you're simply going to hit shortcut key M to add markers alright so I can basically isolate each one of those hits maybe I don't like all of them so I can mark the ones that I want as you're doing that they're going to appear as you can see here in the markers panel now again for things like boxing like we mentioned you want different pitches different intensities each of these you can even see visually on the waveforms themselves I move this out of the way these two are a little bit louder and more intense than these three right here and then these two kind of crescendo get a little bit louder there's just a little bit more intensity in this one right here so I labeled them accordingly so if I go to my sort of final version of these you can see I only wound up using four of them and I titled them you know punch with grunt subtle thud low pitch I gave a very specific this is actually a BBC one I gave it a very specific naming convention so here we go yeah so we have like mid punch deep punch so here's deep punched - here's mid punch - it's the same pillow right held in the same spot with the microphone just hitting it differently with my hand creates different pitches you want to layer those different pitches in so that it sells you know the randomness of skin-to-skin contact okay and similarly with the Ab punches same thing if we go into our markers here bright punch right slap deep punch okay so once you've done that you can now separate these as individual files so I'm gonna select all of the markers in the markers panel here and then I'm going to come up to this button which is export audio of selected range markers two separate files let's go ahead and click on this alright tell it where we want it to go punch SFX alright now we don't want to change the sample rate so we're gonna keep this same as source which is 48 K we'll keep these mono we don't have to convert them to stereo you can of course but they were recorded in mono I'll just leave it in mono and it is in 32-bit so we'll do same as source alright click ok it knows where it's going wave PCM the key here is use marker names in file names you want to make sure that that box is checked because I went through the trouble of bothering to name these so that I know what I'm using alright and click export and just like that they are all done ok so if we were to go to file open here punch SFX there they are there's all the ones we just created you can see today 11:56 a.m. right there alright and we're gonna do the same thing for the other ones so let's go to my pillow punches markers select export it's going to the right place okay it's all the same used markers and file names okay export it's done that's how fast audition batches that by the way it's really really super quick okay okay looking at some of these here okay alright it sounds like a slap haha ouch says me a dang are you okay the ABS are really coming together I'm not gonna lie to you you know I'm a 4:30 a.m. dude so yeah I'm working hard me a health how about a kick drum absolutely so again anything that's low-pitched guttural you know a lot of attack layer it in there right just like I used a Chevy car door to simulate metal clanging to a complete stop you know whatever works right I mean that's kind of the idea you you really can just get creative in doing that alright Darren's asking do you find you need to create your own homebrew sound effects yeah because you know again it just depends what kind of libraries you have now I bought libraries back in the 80s so I have a lot of sound effects I don't have all of them accessible here so a lot of times I can tell you right now the Foley stuff we won't get to it today but next week the breathing and the you have some that have some grunts we're gonna do it right here like we'll do it live it'll work it sells it and I usually always add a couple of my own little elements in there just to just to differentiate the sounds a little bit alright Diego Jason can take a beating alright nice okay dr. Jekyll and Hyde what kind of pillow is Jason budging is the tempur-pedic the Swedish tempur-pedic pillows very dense you're right the the foam fits to your head your body they're they're really fantastic okay and again it's just the idea that you're using something to create a different sound for that attack okay sweet alright so once you do that now we're moving on to starting to lay out what it is that we're gonna work with alright and you probably already noticed that I have a series of markers in the multi track as well the reason for that is is that I like to in advance of adding any kind of sound you know just figure out roughly or frame accurately where I'm gonna need sounds in the first place now the reason for this is because I'll lay down an initial sound which we're going to do at all of these locations and then start to build it up so for instance what will likely do it each one of these marker points and we're gonna go through them it's just add one tap just so that we can kind of watch it back and just check for timing and see if it's overall kind of what we're going for or if it worked right okay so again I tend to want to scrub through this now by the way this is a preference that I disable you'll find it under playback and recording but as I'm doing this now we're putting the audio in here live but when I'm doing sound design like this I usually don't play audio while scrubbing I just I just find it irritating if you JKL so you use JKL for you know reverse stop play and double speed forward or back that will allow you to hear the audio as you're shuttling scrubbing though as you're dragging the mouse cursor it just for me for this kind of work it gets very irritating real quickly especially if you have a lot that you're doing for one particular sound so I disabled that you can do whatever you like another thing to keep in mind now you may have noticed the video here is displaying two flavors of timecode so the top one this is a 25 FPS clip off of the dhobi stock so probably shot in the UK the top one here or somewhere in Europe for that matter the top one here was burned in through media encoder so I used to burn in on export to add that the bottom one is being shown based on my timeline settings here in audition and that's showing minutes seconds and in this case milliseconds okay going against the time view that we're looking at here the reason for that of course is that audition allows you to work at the subframe level right in Premiere Pro we refer to this as if you've ever right clicked in a timeline you see there's an option there to show audio time units which by the way I don't even I don't know what that means what it is showing you our samples audio time units still 20 years I don't know why it says that to be honest he's very honest isn't he but that's what it is it's showing you samples and what that means when you go into show audio time units is that you can slip and slide audio at the subframe level you're not it you know you're not snapped to frames as you typically are so of course audition is always working that way and I'd like to have the dual timecode references there if you just right-click on the video and audition and you want to make sure that the video panel is revealed you can find that under the window menu if you go into video preferences you'll see that this is where you can adjust your timecode settings so you can enable it you can tell it where you want it to go I kept it in the center just to keep things kind of looking cool and collected right there you can move it around you can adjust the opacity and the size the background box opacity session or media timecode you know whatever is is relevant here but that's why there's two time codes in case you were wondering about that alright so again I tend to like to scrub through it I'll zoom in a bit here alright and we're gonna look for that first hit which is right approximately there okay now you'll notice that I backed off on that marker ever so slightly alright it's actually a little bit before the frame action that's because typically the sound happens I mean this is we're talking samples here remember there's 48,000 samples per second versus 25 frames per second so typically you want the sound you know that first initial movement of that punch to happen a couple of you know samples before the action here which is why I said it like that all right and by the way B&W represents b4 blue trunk white for white shirt I think he's wearing white trunks as well okay it's the same thing here you can see right there it's his head right m2 add a marker and you can see it added a new corine there and by the way you can see what I've done in here is I've labeled what each one of those different markers represents right so this one if I just double click it'll go right there is a punch right B punch W punch this one W P so this is white trunks punch miss whoosh so there's two things happening here this guy's punching this guy is trying to punch but the guy ducks and he misses it right so we need two actions here so that's why I labeled it that way okay let's keep on going hey wrestle a little bit here so here we go white punch so left so here he's got a little combo left right left right left right and I even put punch right with whoosh because if you just hear that's one thing to be here you're really gonna feel it right so sometimes you can time a super fast whoosh into the hit I've been watching rocky for days I'm telling you it's so great so all those things combined can work together the whoosh isn't just for missing sometimes it's the crescendo to the punch right this is where you got a you put your put your thinking caps on all right and then as we continue to go through here's the gloves slapping together alright again we need a different sound for that and then a soft hit he punches him white trunks punch here's a big swing and a Miss now I've already laid this one in for you and I just want to show you again real simply so here I took my whoosh single all right and again the action it starts out here right because the whoosh isn't it's it's where you know when the arm is pulled back it's that whole motion so he's off screen so you can see remember what I was saying is that there's a little bit of a you know there's a natural the sound of that initial movement before the loudness of the whoosh so that happens just before the marker and then the main loudness happens kind of as we cross the center plane there all right and if you just take a look and listen to this it's kind of give you an idea of what it sounds like all right oh wait do I've a muted I haven't made it sorry it's so fast but it works all right that's what you got to start thinking about the grunts and then again we've got the guy in the white trunks here just power power hit and then right hook so power hits him with the left and then left hook woosh and I didn't even get the second hit yet or did I actually he missed right there he was just recoiling his right arm okay all right yes Jason is actually in the ring I want to hear one of the fighters start crying oh now all right nice Thank You Diego okay okay so let's start adding in some of those initial hits right so again we're not going to worry about layering at all today maybe we'll even just get one but we just want to start laying in some of those initial punches now you can set up your tracks however you like for this you can see I've only got 1 2 3 4 5 5 tracks to layer if we need more we can we can add more all right it just you know you can do it however you want this is the default there's six tracks in a session by default I think I added one for some additional ambience down which I'm gonna use right here this is ambience - okay so let's come over to our files now and again we have all of our punches now I'm gonna take this AB punches this is the the combined file let's take that out I'm gonna take out the pillow punch as well because we're gonna open up now the individual punches that we just exported okay so here we go bring all those in here alright so when we're in the files panel alright we can preview them by clicking on this little speaker icon this will auto play the sound effect so I'll go ahead and turn this on so I can kind of audition them before we drop it in actually I need I think I need to put my headphones on so I can hear this a little bit better all right these all really kind of kind of doing it for me all right so let's grab this one and we'll drop it in here almost to see timing wise if we need to slip it alright looks pretty good let's go with our other punch it's that so beauty right but you get the idea right right this is just one we have to layer this a bunch of times but the idea it already like it already feels like look at me smiling it already feels like something you know and that's what's so cool is that you you can really get a sense of how this is all gonna come together now you notice that I put it on separate tracks in theory I could do something like this I mean these these all these don't have that much decay and again we're gonna add ambience anyway I could stack all of the initial hits on the same track if I wanted to and that's kind of a decent housekeeping idea alright now this one remember we've got a hit and a whoosh for this third one so let's see what we got here maybe a bright slap for that face hit I almost said the b-word slap can I say that ok we got to get that whoosh in there as well alright so let's come over here now we've also got oh my god I grabbed these whip crack samples from the BBC so whip crack if you've seen they used to use this in radio plays and they still do on Broadway and stuff never seen what a whip crap looks like it's a very strange instrument but it creates this kind of a sound they can tell just by the ambient noise that this sounds like this was done in the 60s or he fifties now that's not bad it's kind of a double hit something about this one is doing it for me so I'm gonna go ahead and copy this to a new file all right let's cut off the beginning let's do a smooth little fade and this is our by the way our non-destructive fade handle so you can see how it effects we're just gonna do a real quick fade so that it's just a nice clean beginning and fade out the ending all right now it has that other secondary sound in there or just gonna fade that out and if I take a look at this spectrally it's got some it's got some noise in there so maybe y'all will see this one might not work cuz again it's it's it's old you know so let's see if this D noise or does it let's do all frequency and try about 50% before after works for me right oh but it was too aggressive yeah maybe but this is gonna be layered so it's not gonna matter okay we'll call this whip crack slap and we're gonna put it into punch SFX and come over here alright and let's check out our wishes okay now that's obviously too long and too big and I'm thinking about the dude who did it maybe it's more I like this copy it to new get rid of the end tail it a little louder alright clean up the end go ahead and save alright and we'll call this a single woosh mid-range flop cuz that's kind of a floppy sound why did you name it that way I don't know I make up weird names all the time alright so let's bring that woosh here and because the actions happen at the same time that's technically where the head is so the hits right there they really do happen at the same time so now we're this is going to get a little interesting right so you can see our guy in the blue trunks the woosh really could probably be backed off a little bit but what I'm thinking is let's mute the hit and let's just focus on the woosh for a second we may need to elongate the woosh let's see actually [Music] hot damn it's like in perfect sync it just works now if I wanted to lower the pitch of this I think the higher pitched one works if we go into the properties panel which again you can access from the window menu we're gonna go into the stretch mode now I'm gonna do we can do real-time clip stretching we'll do a bit of this in a moment here we've got about got about 11 minutes to go sorry nine minutes to go let's go into real-time mode and then you've got three different options okay monophonic polyphonic a very speed now if you want to maintain the pitch of a sound effect but you want to adjust its duration you would likely choose monophonic or polyphonic because it's gonna give you independent control over adjusting duration without affecting pitch or adjusting pitch without affecting duration however for things like this especially when you start we were talking about slow-mo where you have like right we really want this same thing to just be elongated and lower we're going to use very speed and this simulates what tape machines would do right if you wanted to elongate something you slowed it down and by slowing it down the pitch also drops so this would be something I would typically do so I'm gonna go ahead and go into very speed mode here now I'm not going to adjust duration but I do want the pitch to drop a little bit so you know we can adjust the duration ever so slightly actually you know what for that you know for this I'm that back what am I saying I don't want to adjust duration at all I just want to I just want to adjust pitch so we're gonna go into monophonic let's drop this maybe about two semitones maybe let's see what six semitones sounds like all right let's watch it against the video it doesn't feel right for this right the higher-pitched one just felt better something about it just worked more naturally and if we turn both of them on now right we're kind of losing a bit of that because that whoosh isn't quite as loud so again we could do a little volume adjust on here just for the moment and maybe even do a little subtle panning I'm grabbing the the blue pan lines here so we can kind of make this make this a little bit more stereo which should enable us to hear these a little bit better cool yeah all right cool okay and let's go ahead and add a couple of our additional and initial punches here so left left right left right and we want a big whoosh on this one so that we really feel it okay so let's come back over here again these are just the initial punches maybe deep punch for the second one and maybe deep punch for the first C I'm changing my mind and let's do that slap for this one and we need a deep whoosh let's see if we can make this work all right oh is this a oh it's 96k okay this came to me from one of our adobe assets short film from one of our esteemed mates all right so for this one here first of all I need to shrink this up right because it's it's too long also we're gonna drop the volume on this because I can tell it's already just really hot let's drop this about 5 dB you will notice that in the upper right and left corners of your clips you have this little stretch icon there's a little white triangle there by the way this is enabled by clicking on this radio button at the top of the multitrack global clip time stretching so this is going to allow you to squeeze that sound in again by default without affecting without affecting the pitch so let's see got it in monophonic so the pitch will stay the same but we just adjusted duration see how that sounds mm-hmm it's okay let's see if we do polyphonic if that works better it's getting a little artifact ooh there we go that might be it all right and maybe that's not the one right maybe it's maybe this one would work better there let's see maybe all three all right wow that last hit is so Tommy you really feel like hitting him in the face all right I've got like three minutes let's see if I can get these other hits in here okay so a glove hit so let's do some mid punches for the glove hits will do like two of those here Oh one second let me move this out just the timing and he's got that he's got a soft hit right here and then a big punch right there so let's go and add our there's another one all right we're gonna shrink this up how's it going to the chat Polyphonic Spree ha ha yes indeed all right all right you hear that whoosh that's already in there and let's get a soft hit so we need gloves soft hit well that's a good one why did I use that let's do this one all right it's coming together swing-and-a-miss there we got a soft hit again so we'll set that right in here getting so close to end of time the end of our time all right this one's got a little too much at the top there did I miss the yeah see it actually happens here my markers in the wrong place it's a soft hit all right and then we've got a power hit right there feels like it's actually right there all right and then one final right hook which I think will use one of these all right and maybe we'll just throw a little singular woosh in there too all right so all together now all right and now let's add back in a little bit of that crowd noise [Applause] okay all right my friends there is so much more that we could do but we are out of time so thank you so much for watching we've got our XD challenge coming up next stick around and we'll see you next time alright take care bye bye

Channel: Adobe Creative Cloud

Views: 31,234

Keywords: learn, teach, tutorial, tips, tips and tricks, edit, how to, create, UI/UX Design, UX/UI Design, Experience Design, XD, Adobe XD, User Interface, User Experience, Design, How to make an app, App design, web design, digital design, Adobe, Adobe Live, AdobeLive, How to, Creative Cloud, Adobe CC, UI/UX tips, Jesse Showalter, tutorials, adobe creative cloud, Adobe creative suite

Id: THKvtueztd4

Length: 57min 36sec (3456 seconds)

Published: Fri Feb 21 2020