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Hi, I'm Mary.
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And now I'm going to show you some sound
design and mixing
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techniques in the Fairlight page
of DaVinci Resolve 17.
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So let's get started
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in this timeline we have
all of the dialog has already been split
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into the top two tracks and as you can see
across the bottom, we have music
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bed already in place and now it's time
to work on some of the sound effects.
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And so right now there's a drone
sound right here at the beginning.
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And one of the ideas is to fill this
entire track with that same drone sound.
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I'm going to just make sure it starts
at the very beginning.
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As it does right there.
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I'll expand this track
so we can see it a little bit better.
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And I'd like to duplicate this same clip
and lay it all the way across.
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But there's one thing I'd rather than it
just be hard cuts which may not work
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well together, I want to make sure that
they are overlapping with a crossfade.
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Now, if you want.
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If you notice, if I take this clip
and I hold down the option key
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and just drag it, I will drop a copy of it
right there in the timeline.
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The thing is, if I separate those,
you'll notice that it covered up
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the end of that clip.
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And the reason is any time
you overlap clips in the timeline,
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they're automatically going
to just overwrite each other
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because that is the default
editing in the audio tracks.
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Now we can change that to layered
audio editing by just going up
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to the timeline menu
and enabling layered audio editing.
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And when you check the box for layered
audio editing, it will now edit your clips
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as you overlap them into separate layers
within the same track.
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Therefore you can do some nice smooth
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crossfade in between
without ever losing any of the material.
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And so I'm going to go and separate these
and I'll just extend this clip back.
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So we have the entirety of that clip.
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I'm going to add a fade to this one
at the beginning,
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and I'm going to put a fade on this one
also at the beginning.
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So we just have it'll fade in nicely now
because I put a fade on this.
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If I overlap these clips,
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you'll notice now there is a crossfade
in between those two.
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If I were to overlap them
without the fade, it will just cut
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from one to the other.
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Notice that while we're in layers
and I'm just going to make this track
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a little bit larger
by selecting that track
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and then holding shift
while moving my middle mouse scroller.
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And you'll see now I can see this
even better.
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I'll also zoom in a little bit more.
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And as you can see, I can overlap these
and I can actually see
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the waveforms as I'm overlapping
so I can align them if I wanted to.
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Exactly. Based on the waveform.
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So that's a really nice technique as well.
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So once I've overlapped these
where I think they go,
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I can go ahead
and add that fade to this upper layer.
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Now, if I were to look at this under
the View menu, show audio track layers,
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you will see that it
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shows that this actually sitting
on top in a new layer.
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I'm going to go head back to The View menu
and hide those audio track layers.
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And now I'm going to actually do this
more.
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I'm just going to take the same
clip again, hold down the option key,
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drag a copy
and just drop these on top of each other,
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aligning them slightly as I go.
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And what I'm going to get
is some nice crossfade all the way across.
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And I've just made a nice little bed.
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I can adjust these if I wanted to.
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I can change the power if I needed to.
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But the important thing is I've now filled
this entire track with that drone sound
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and it will sound seamless
as I go from one clip to the next.
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Notice that drone
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just continues as I play it back
and I can go and put these back.
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And let's take a look
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at those audio track layers again
so you can see the final result.
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There it is.
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You can see there's a bit of a stair
stepping as I have created those overlaps
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all within different layers
in the same track.
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I'm going to hide those audio
track layers.
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So that's just one technique.
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Something else we have to
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consider is the levels of this
drone is just way too loud.
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Even though it's background sound, it's
just very heavy even for a scene in space.
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So if I play this a little bit,
I could see that this is
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quite a bit of sound, so I'm going to need
to turn it down and I have to decide.
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Don't want to turn it down
within the track on the clip levels
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themselves or do I want to lower
the entire tracks level Now?
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If I wanted to lower the track right
there, I'll extend my mixture.
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You can see here's that drone track
by selecting it.
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You can see it also selects the track
right here in a timeline.
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And I can lower this track level
by just dragging the fader.
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I can do it during playback
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and I can lower
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it to a better level
if that's where I want to make the change.
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You can also do that
right here on the track header itself.
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Even if the mixer isn't showing
by just dragging in this field.
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If you look, you can see this
field on the left hand
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side there shows that's
the level of the track at this moment.
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I can raise or lower
that relative to what it was before
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and zoom out and I'll show you
as I drag this up and down.
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Notice the fader on my mixer is changing.
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So whether your mixer is showing
or not at any time,
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if you're listening to a track
and the levels are off a little bit,
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you can finesse those right here
from the track header.
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Or of course you can come back over
and adjust them on the mixer.
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Now generally it's a good idea
to save working with the faders
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until you're actually mixing the project.
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Right now
we're just editing in some sound effects
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and beginning our sound design
and so might be a good idea
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to instead fix the levels of the clips
within the track.
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And so to do that, first,
I want to reset the mixer
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by just double clicking right there
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on that fader and notice that it just pops
right back up into position.
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And instead I want to select all the
the clips on the track
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and what I want to do is
I'm just going to zoom out a little bit,
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select all the clips on that track and go
over to the inspector and the inspector.
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Let me see the different information
about any selected clip or clips
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or hide the mixer first so you don't have
as much showing on screen
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And where we can see all of those clips
and you can see the inspector.
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Now notice if I deselect everything
and only select one clip, you'll notice
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that it's showing me this one timeline
clip and it's called low drone number one.
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If I select all of them,
it shows me that I have
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timeline, multiple clips
all within that track.
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And instead of giving in the name,
that's all it's going to show me that
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I have multiple clips
so I can adjust the level right here
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by raising
and lowering this volume slider.
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As you can see,
I can raise or lower that level.
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You can see it happening
right there in the timeline
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as I drag this back and forth
so I could start playback and listen
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it or I my and lower that level.
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So it's.
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Planet cue.
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Dash for
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not stepping all over the background,
but still gives me that sense of space.
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And maybe that's how
I can lower those levels.
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Now I can also do it
in addition to the inspector.
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I can also adjust those levels once
those clips are selected.
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Over here in the clip menu,
if you go down to where it shows audio,
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you can see that
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you can decrease or increase the levels
by one decibels at a time with a shortcut.
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And on the Mac, it's going to be option
command and minus an equal or shift
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in option and minus an equal
if I want to do three decibels at a time.
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So I'll try that just to show you
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there it is.
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I can raise or lower
those levels of selected clips
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by just holding the option and shift
and just tapping that.
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And I'm doing three decibels at a time,
so I could do that even during playback
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and set those levels.
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So now I like the levels of the track
and again, I could do it either way, but
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because I've set the levels of the track
now, when I get into mixing,
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all my levels are set to unity
on my faders
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and I can just begin
blending everything together
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because what's already in
the tracks is working.
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So that was just being able
to overlap some clips and build up a bed.
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And let's look at some of the other ways
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that we can bring in some sound effects
and work on our sound design.
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And when it comes to sound effects
editing,
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a lot of people wonder
what's the priority?
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And in this case,
you kind of want to think of it
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as the diegetic sounds,
those ones that are part of the story,
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the things that the characters can hear,
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the things that the characters
are interacting with,
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whether it's an alarm
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or the sounds of them typing on a keyboard
or their jets of their
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space pod pushing them around.
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Those are sounds that you can see
that the characters can hear.
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Therefore those are a priority.
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The non diegetic sounds
would be things like drone sounds or
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embellishments like stingers and
some of the things you might do with music
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or just sounds that are kind of showing
what your character might be thinking
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and how they feel.
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But they're not as high a priority
as the ones that are actually those hard
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sound effects that really need to be in
there as part of the story.
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So for sound editing
or editing your sound effects,
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we have some really awesome tools
to help you with your placement
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and also selecting
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which sounds you might want to work with
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and seeing how they work in the timeline
itself.
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First thing I want to do
is close up my inspector and let's
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go ahead and notice these markers
running across the top of the timeline.
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These markers are actually a spotting list
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where the editor and the supervising sound
editor or sound designer went through
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and create a spotting list
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of some sounds they thought might be good
in this particular position
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or in the timeline.
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And to do that, to navigate from marker
to marker, you can just hold that shift
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key and use the down arrow
to move down the timeline
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through your markers or the up arrow
while holding shift to navigate up.
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So back and forth
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by just using those up and down arrows
that will take you to the markers
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now to see what the markers actually say
or what they mean, you could double
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click on a marker and that will open it up
and say it right here.
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It says Jett's fire
use growlers and pod jet sound effect.
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Okay, that's a very specific note,
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but another place where I could see
the entire list of all of my notes.
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What the markers mean
and how I might use them for navigation.
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I can find that in the index.
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So let's go up to the index up at the top.
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And when you open the index,
we have an edit index which lets you see
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every single edit and even navigate to it
if you need to.
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For whatever reason, we have our tracks
index which lets you show and hide tracks.
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If you notice, I have quite a few tracks
in here that are hidden right now.
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And then we have our markers index
and the markers
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index
shows you a thumbnail for each marker.
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I can double click it
and automatically go to that marker.
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Or when you go to the markers
index in list view, you'll see that
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it's going to give me a nice list
that shows me different categories.
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There are all of those thumbnails
and I can actually see the name of it.
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I can expand that if I need to.
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Now we can customize this list
and see more information.
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I can even expand it
if I'd like this way as well.
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And some of the information
in this marker list I don't need
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is the start and end
time to these markers.
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These aren't duration markers,
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so I'm just going to right
click on one of the column headers
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and uncheck the starting time code,
the ending time code and the duration.
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I don't need any of those move
the color column over
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and then I'll just have my name
and my notes and notice
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I can see all kinds of information here.
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Double click on any one of these
and I can jump my head right to it.
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And I can even sort
by these different markers.
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For example, if I select the color
column header, I can sort it by color
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and therefore there's
my two different alarm effects right here.
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And that's
something that we can work with right now.
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So let's go ahead and try one of these.
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Let's try this alarm sound effect
by just double clicking on this.
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My play head is already in position.
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I'm going to go ahead and peel this back
as I don't need quite as much real estate
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on this particular thing.
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And instead I'm going to hide that index
and bring up my media pool.
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I'll just see, you know,
I went ahead and hit the index,
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but you can also have the index
and the media pool
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showing at the same time on the left side,
by just selecting the media pool
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and the index, you'll notice
the index will now show up on the bottom,
227
00:11:53,416 --> 00:11:57,166
which works perfectly
well up here in my media pool.
228
00:11:57,250 --> 00:12:01,750
I'm going to switch over to list view
and I'm looking for some sound effects.
229
00:12:01,833 --> 00:12:04,458
And right here
towards the bottom of my project,
230
00:12:04,458 --> 00:12:05,875
you'll see there's some sound effects.
231
00:12:05,875 --> 00:12:07,916
I have a bin that says sound effects.
232
00:12:07,916 --> 00:12:12,583
And inside of this I have some different
sounds that go with this particular scene.
233
00:12:12,666 --> 00:12:15,791
Now, the one
I'm looking for is the alarm sound effect.
234
00:12:15,791 --> 00:12:17,250
And so I go ahead and hide the index.
235
00:12:17,250 --> 00:12:19,000
We can see this a little bit better.
236
00:12:19,000 --> 00:12:21,208
And if you look inside,
I have a few sound effects.
237
00:12:21,208 --> 00:12:23,166
I have this one that's called alarm.
238
00:12:23,166 --> 00:12:25,500
And if I play that,
239
00:12:25,500 --> 00:12:27,500
let's hear it.
240
00:12:27,500 --> 00:12:30,250
Okay, sounds like an alarm.
241
00:12:30,250 --> 00:12:32,291
And then if I come down here,
there's another one
242
00:12:32,291 --> 00:12:36,500
that says pod alarm,
243
00:12:36,583 --> 00:12:38,916
and that's more of like a klaxon sound
that feels like,
244
00:12:38,916 --> 00:12:39,916
Hey, let's clear the building
245
00:12:39,916 --> 00:12:43,416
sort of alarm versus a there's
something wrong with your pod sound.
246
00:12:43,583 --> 00:12:46,000
So I think we'll go with that first one.
247
00:12:46,000 --> 00:12:49,291
And what I can do is I can choose to mark
in and out point on it,
248
00:12:49,500 --> 00:12:52,041
or I can just bring the entire thing
into the timeline.
249
00:12:52,041 --> 00:12:54,083
Now, I need to have a track to put it in.
250
00:12:54,083 --> 00:12:57,458
Right now I have two dialog tracks,
a drone and music.
251
00:12:57,541 --> 00:13:00,458
Let's go back to that index.
252
00:13:00,541 --> 00:13:03,500
I'm going to hide my media pull
just to make this easier to see.
253
00:13:03,500 --> 00:13:07,750
And inside my index, instead of looking
at the markers, let's go back to tracks
254
00:13:07,791 --> 00:13:11,375
and you'll notice that here are all of
the other tracks that I have hidden.
255
00:13:11,375 --> 00:13:12,958
In fact, I can show them.
256
00:13:12,958 --> 00:13:13,916
I've created tracks
257
00:13:13,916 --> 00:13:17,708
for different sound effects
that we may be using for our sound design.
258
00:13:17,750 --> 00:13:23,291
And if you look now, all of those tracks
are showing in both the timeline.
259
00:13:23,375 --> 00:13:25,958
Just squish those up
so you can really see them there.
260
00:13:25,958 --> 00:13:32,083
I changed my vertical zoom and also
you can see them if I open up my mixture.
261
00:13:32,083 --> 00:13:32,458
You'll see.
262
00:13:32,458 --> 00:13:35,458
Now all of those tracks
show in the mixture as well.
263
00:13:35,500 --> 00:13:38,041
Now, if I were to hide the tracks, notice
264
00:13:38,041 --> 00:13:42,041
that I can hide them
and they also are hidden in the mixer.
265
00:13:42,208 --> 00:13:45,750
So it just helps you to, you know,
when you organizing or working with things
266
00:13:45,750 --> 00:13:49,625
so you can choose which tracks you see
at any given time, which is very helpful.
267
00:13:49,708 --> 00:13:52,208
In this case, I'm going to keep
all the sound effects hidden.
268
00:13:52,208 --> 00:13:56,375
We'll leave the drone in music showing,
but I'm going to bring up just the track
269
00:13:56,375 --> 00:13:57,458
that says Alarm.
270
00:13:57,458 --> 00:13:59,000
That's the only one I want to work with.
271
00:13:59,000 --> 00:14:01,500
And let's bring up the pod jets as well.
272
00:14:01,500 --> 00:14:04,666
We'll just have
those three good enough for now.
273
00:14:04,750 --> 00:14:06,833
Go ahead and hide that index.
274
00:14:06,833 --> 00:14:11,083
And now I'm ready to add the alarm
to the track.
275
00:14:11,083 --> 00:14:12,583
That's called alarm right here.
276
00:14:12,583 --> 00:14:12,958
All right.
277
00:14:12,958 --> 00:14:16,041
So now we have shown which tracks
we want to work with.
278
00:14:16,250 --> 00:14:20,000
Let's go into the media pool,
grab that alarm sound that we want to use.
279
00:14:20,000 --> 00:14:23,500
And all I have to do is put it
into the timeline where that marker is.
280
00:14:23,541 --> 00:14:25,916
So grabbing the alarm sound
281
00:14:25,916 --> 00:14:29,333
and I'm just going to pop it
into the track right there.
282
00:14:29,416 --> 00:14:32,416
At this point, I don't need my media pool,
so I'll go and put it up
283
00:14:32,666 --> 00:14:38,333
and I want to zoom in a little bit so
I can hit command and equals to zoom in.
284
00:14:38,333 --> 00:14:43,625
Or I could hold down the option key
and use my middle mouse scroller as well.
285
00:14:43,708 --> 00:14:44,750
Let's make that a little taller
286
00:14:44,750 --> 00:14:48,000
by holding shift
and using my middle mouse scroller.
287
00:14:48,083 --> 00:14:48,958
So there's a clip.
288
00:14:48,958 --> 00:14:49,458
Now, you know what
289
00:14:49,458 --> 00:14:53,333
I'd really like to see, though,
is it'd be nice if we could also see
290
00:14:53,416 --> 00:14:56,958
at the same time our video tracks
just to know if we are in the right
291
00:14:56,958 --> 00:15:00,833
ballpark
for how long this particular clip is.
292
00:15:00,916 --> 00:15:03,750
Now, I actually said
I want to see my video track.
293
00:15:03,750 --> 00:15:05,125
This is Da Vinci Resolved.
294
00:15:05,125 --> 00:15:08,250
Da Vinci Resolve has a full non-linear
editor
295
00:15:08,250 --> 00:15:12,541
as well as a DA digital audio workstation,
all within the same software.
296
00:15:12,541 --> 00:15:16,666
And so if I want to see the edit,
I don't have to go all the way back
297
00:15:16,666 --> 00:15:17,666
to the edit page.
298
00:15:17,666 --> 00:15:21,541
I can just show the video track
right here at the top of the timeline
299
00:15:21,625 --> 00:15:25,625
by just coming up to the timeline
view options.
300
00:15:25,708 --> 00:15:26,833
We zoom in on that. There you go.
301
00:15:26,833 --> 00:15:28,166
That's my timeline view options.
302
00:15:28,166 --> 00:15:32,291
If I click on that, the very first icon
here shows my video tracks,
303
00:15:32,541 --> 00:15:37,666
and once I can see those now, I can see
the actual clips in the timeline.
304
00:15:37,750 --> 00:15:41,500
And so when I can see those clips,
that shows me this is the length of this
305
00:15:41,500 --> 00:15:45,875
particular shot where the alarm is wailing
in a million his ears.
306
00:15:46,083 --> 00:15:47,291
Right. I'll back this up.
307
00:15:47,291 --> 00:15:52,583
We changed this view just a little bit so
you can see the video larger there we go.
308
00:15:52,666 --> 00:16:01,833
I'm going to back up just a little before
the clip and notice as we start to play.
309
00:16:01,916 --> 00:16:03,750
So this is our shot right here.
310
00:16:03,750 --> 00:16:06,291
Accelerate
and the clip isn't quite long enough
311
00:16:06,291 --> 00:16:08,375
to make it
for the entire duration, that shot.
312
00:16:08,375 --> 00:16:10,708
So I've got a couple of things
I can do to make it longer.
313
00:16:10,708 --> 00:16:14,083
I can duplicate it,
but I can also use elastic Wave to just
314
00:16:14,166 --> 00:16:17,291
elongate it a little bit, stretch it
and it won't change the pitch.
315
00:16:17,291 --> 00:16:18,541
It will just stretch it.
316
00:16:18,541 --> 00:16:21,583
But the other thing that's good
about that, if I use Elastic Wave, is
317
00:16:21,583 --> 00:16:24,833
not only is it going to make the clip
a little bit longer, which I need,
318
00:16:25,000 --> 00:16:28,375
but it's also going to slow it down
because as I'm watching that alarm, I'm
319
00:16:28,375 --> 00:16:31,625
thinking it might be nice to slow it down
just a little
320
00:16:31,708 --> 00:16:34,583
the flashing
and get the sound to just slow down a bit.
321
00:16:34,583 --> 00:16:36,041
So let's do that.
322
00:16:36,041 --> 00:16:40,750
I'm going to select this
and just make it a little bit larger.
323
00:16:40,791 --> 00:16:41,875
There we go.
324
00:16:41,875 --> 00:16:45,958
And if I want to slow this down or change
the speed, what I can do is I can just
325
00:16:45,958 --> 00:16:51,416
right click on that clip and go up to
Elastic Wave to engage the elastic wave.
326
00:16:51,416 --> 00:16:53,458
As you can see,
327
00:16:53,458 --> 00:16:55,625
that's what it looks like when you have
elastic wave turned on.
328
00:16:55,625 --> 00:16:57,750
You can see
it says elastic wave right on it.
329
00:16:57,750 --> 00:17:00,125
When you're in elastic wave,
330
00:17:00,125 --> 00:17:02,833
I can come over to the right side
of my clip and notice
331
00:17:02,833 --> 00:17:06,291
that instead of just a normal trim icon,
I get a stretch or
332
00:17:06,291 --> 00:17:10,500
this is my elastic wave icon, which means
I can change the duration of the clip.
333
00:17:10,500 --> 00:17:15,208
Notice how stretchy it is, but it does not
change the pitch, which is very useful.
334
00:17:15,208 --> 00:17:18,291
So if I stretch it a lot,
335
00:17:18,375 --> 00:17:19,958
it's slowed it down quite a bit.
336
00:17:19,958 --> 00:17:23,958
If I make it closer together.
337
00:17:24,041 --> 00:17:24,333
Right.
338
00:17:24,333 --> 00:17:27,083
But the pitch stays the same
and that's one of the things
339
00:17:27,083 --> 00:17:30,208
I could turn it off and actually make
the pitch change in the inspector.
340
00:17:30,208 --> 00:17:33,666
But right now I just want to stretch it,
slow it down a little bit.
341
00:17:33,750 --> 00:17:36,083
Let me zoom out of there
342
00:17:36,083 --> 00:17:39,916
and let's
actually make sure that we can see
343
00:17:40,000 --> 00:17:43,041
I want to see the entire clip length
and it looks like I made it stretch
344
00:17:43,041 --> 00:17:46,833
it just right so that we can see the edge.
345
00:17:46,916 --> 00:17:49,791
It's it's
made it to the exact length of that shot.
346
00:17:49,791 --> 00:17:53,875
So not only did
I slow it down, but I also made it
347
00:17:53,875 --> 00:17:58,166
the length of the shot.
348
00:17:58,250 --> 00:17:59,708
All right.
349
00:17:59,708 --> 00:18:00,625
Okay. So perfect.
350
00:18:00,625 --> 00:18:02,250
And it ends exactly where I wanted to.
351
00:18:02,250 --> 00:18:04,708
So it was very handy to be able
to actually see the clips.
352
00:18:04,708 --> 00:18:07,041
Yes, I could have watched the video
at the same time.
353
00:18:07,041 --> 00:18:08,625
This was just another method.
354
00:18:08,625 --> 00:18:11,583
I'm going to go ahead
and make this a little bit smaller.
355
00:18:11,583 --> 00:18:14,833
And the next thing I'd like to do
is add a sound effect
356
00:18:14,833 --> 00:18:18,000
to match the pod jets as they fire.
357
00:18:18,208 --> 00:18:20,166
And I'm going to use another tool
for this.
358
00:18:20,166 --> 00:18:22,583
We're going to actually
bring up our scroller for this one
359
00:18:22,583 --> 00:18:26,958
so you can see an actual thumbnail
of every single frame of your shot.
360
00:18:26,958 --> 00:18:30,666
And you can use that as a guide
to really match a sound effect Exactly.
361
00:18:30,666 --> 00:18:32,083
Frame by frame.
362
00:18:32,083 --> 00:18:36,583
And then just use those crawlers to help
position the timeline and the clips.
363
00:18:36,583 --> 00:18:38,250
And so to do that,
364
00:18:38,250 --> 00:18:41,041
first thing I'm going to do is let's
go find the sound effect we want to use.
365
00:18:41,041 --> 00:18:43,583
I'll go back to the index
for just a minute.
366
00:18:43,583 --> 00:18:46,291
This is going to be a project
sound effect.
367
00:18:46,291 --> 00:18:49,916
I'm going to go to my Markers
index and let's go find that right here.
368
00:18:49,916 --> 00:18:54,125
Projects to Sound effect and notice
my play head when exactly to the spot.
369
00:18:54,333 --> 00:18:57,208
And if you look at the screen,
I'm going to full screen mode.
370
00:18:57,208 --> 00:18:58,500
Those are the pod jets.
371
00:18:58,500 --> 00:19:02,791
This is what we're actually trying
to find a sound effect for those pod jets.
372
00:19:02,791 --> 00:19:05,791
So when they play, when those fire up,
373
00:19:06,041 --> 00:19:09,250
we want to actually hear
that sound at that moment.
374
00:19:09,291 --> 00:19:11,666
So how do we do that? Well,
375
00:19:11,666 --> 00:19:15,041
I see the marker, obviously, the markers,
not exactly where we want it to go.
376
00:19:15,041 --> 00:19:16,250
That's not a problem.
377
00:19:16,250 --> 00:19:17,708
I know which track I'm going to.
378
00:19:17,708 --> 00:19:20,291
It's going to be this track right here,
379
00:19:20,375 --> 00:19:22,958
pod jets
one, and I need to go find the clips.
380
00:19:22,958 --> 00:19:27,000
I can hide my index, go to the media pool,
and right here, you'll see.
381
00:19:27,000 --> 00:19:30,666
Here's my sound effect that we're going
to use it to bring that up.
382
00:19:30,750 --> 00:19:34,166
Let's listen to it from the beginning.
383
00:19:34,250 --> 00:19:35,541
Sounds like a pod jet, right?
384
00:19:35,541 --> 00:19:37,041
Exactly what we need.
385
00:19:37,041 --> 00:19:39,416
So I want to just drop it
into the timeline for now.
386
00:19:39,416 --> 00:19:42,083
I'll just grab it
and put it into the timeline.
387
00:19:42,083 --> 00:19:44,458
Now, there's nothing magical about what
I just did.
388
00:19:44,458 --> 00:19:44,875
The fun
389
00:19:44,875 --> 00:19:48,833
part is when we bring up the scroller,
so I'll go ahead and hide the media pool
390
00:19:48,916 --> 00:19:52,208
and the scroll hours are going to be
at the bottom of the screen.
391
00:19:52,291 --> 00:19:56,208
I'll go ahead and make this a little bit
smaller and let's turn on our scroller.
392
00:19:56,291 --> 00:19:59,416
The scroller, as you can find
in the timeline view options.
393
00:19:59,416 --> 00:20:01,250
Again, I'll turn that on.
394
00:20:01,250 --> 00:20:04,916
And in the timeline view options,
the second row of choices
395
00:20:04,916 --> 00:20:06,000
you have is your scroller.
396
00:20:06,000 --> 00:20:09,833
You have a video scroller and two audio
scroller is we only need one audio
397
00:20:09,833 --> 00:20:13,583
scroller that will allow you see the audio
for one track and directly
398
00:20:13,583 --> 00:20:17,625
compare a thumbnail of the audio
to the thumbnail of the picture.
399
00:20:17,833 --> 00:20:20,833
And so I'll turn those on,
but let you see when I flip them on.
400
00:20:20,833 --> 00:20:21,625
There we go.
401
00:20:21,625 --> 00:20:25,416
So there is my video scroller
and here is an audio scroller
402
00:20:25,416 --> 00:20:29,541
also, and I can choose which track
that audio scroller is going to show.
403
00:20:29,541 --> 00:20:32,250
And in this case
I want to make sure it's Projets one.
404
00:20:32,250 --> 00:20:34,333
It is showing the track
that I had selected.
405
00:20:34,333 --> 00:20:35,208
So that's perfect.
406
00:20:35,208 --> 00:20:37,791
I could choose any audio track
to see in my scroller.
407
00:20:37,791 --> 00:20:39,583
In this case. This is the one.
408
00:20:39,583 --> 00:20:42,541
So as you can see here in my thumbnail,
409
00:20:42,541 --> 00:20:46,375
you can see my different frames and that's
actually representing the play head.
410
00:20:46,375 --> 00:20:51,708
So as I dragged back and forth, you'll
see, or if I play notice that's updating
411
00:20:51,791 --> 00:20:55,000
to show whatever
happens to be on my screen at that time.
412
00:20:55,083 --> 00:20:57,541
Now I'm going to
413
00:20:57,541 --> 00:21:00,541
bring this a little bit closer
and a little bit more.
414
00:21:00,708 --> 00:21:03,708
And that way we can see this
because I'd like a nice
415
00:21:03,791 --> 00:21:05,791
you have a nice view of the sound effects.
416
00:21:05,791 --> 00:21:08,125
So this is the actual sound effect
in the timeline.
417
00:21:08,125 --> 00:21:09,416
You can see the play head
418
00:21:09,416 --> 00:21:13,208
and you can see the relationship
between them right here in this scroller.
419
00:21:13,291 --> 00:21:15,500
I'm just going to back up a little bit
420
00:21:15,500 --> 00:21:18,000
and what I'm looking for is a point
where they ignite.
421
00:21:18,000 --> 00:21:21,125
And as you can see,
if you watch that thumbnail, I'm
422
00:21:21,125 --> 00:21:24,291
going to use my canal keys
to just move through in slow motion.
423
00:21:24,291 --> 00:21:29,250
As you can see right there, it's
very clear exactly where those jets fire.
424
00:21:29,333 --> 00:21:31,041
You zoom in on that
to make sure you can see that.
425
00:21:31,041 --> 00:21:35,000
Well, no fire here and it's just starting
to ignite at this point.
426
00:21:35,000 --> 00:21:36,583
And now the jets are at full flame.
427
00:21:36,583 --> 00:21:39,541
And this is one frame
at a time that I can see right here.
428
00:21:39,541 --> 00:21:42,541
I can also tell where my play head is.
429
00:21:42,541 --> 00:21:42,916
My play.
430
00:21:42,916 --> 00:21:43,875
It is way down here.
431
00:21:43,875 --> 00:21:47,708
I'd like my play had to be in front of
this frame, so I just double click on it.
432
00:21:47,875 --> 00:21:51,083
My play head is now jumped to that frame
433
00:21:51,166 --> 00:21:53,791
and just reposition this if I need to.
434
00:21:53,791 --> 00:21:54,875
And there you can see it.
435
00:21:54,875 --> 00:21:58,583
And so from there what I can do jump out
436
00:21:58,666 --> 00:22:02,333
is I can select this clip
and I can actually move it into position.
437
00:22:02,333 --> 00:22:05,125
So I'm just going to go ahead,
move it right there to that spot.
438
00:22:05,125 --> 00:22:10,708
And as you can see, the play head is at
the frame where I want this fire to start.
439
00:22:10,708 --> 00:22:14,791
And you can see that the audio is starting
at the exact place where I want it to.
440
00:22:15,000 --> 00:22:15,833
Now, I manually
441
00:22:15,833 --> 00:22:19,666
dragged that into position, but
I could also use our nudge keys for that
442
00:22:19,875 --> 00:22:21,500
and that to use the nudge keys.
443
00:22:21,500 --> 00:22:25,750
It's just the comma in the period
keys, comma, goes to the left
444
00:22:25,791 --> 00:22:28,625
here, nudges to the right,
or you can do multi frame
445
00:22:28,625 --> 00:22:31,625
nudge five frames at a time
by holding the shift key.
446
00:22:31,625 --> 00:22:34,625
So I'm just going to nudge this
into position, see how I'm walking that
447
00:22:34,625 --> 00:22:38,791
selected clip right up to the play head
exactly where I want it.
448
00:22:38,875 --> 00:22:39,750
There you go.
449
00:22:39,750 --> 00:22:45,041
So now if I play this
back, it should be perfect.
450
00:22:45,125 --> 00:22:45,750
Looks pretty good.
451
00:22:45,750 --> 00:22:48,750
Let's watch it in full screen backing out.
452
00:22:48,916 --> 00:22:58,291
And we do it.
453
00:22:58,375 --> 00:22:58,666
All right.
454
00:22:58,666 --> 00:23:02,416
And so that's using your scroller
to help position a sound effect.
455
00:23:02,416 --> 00:23:05,416
So those are two different things
that we could do fairly easily.
456
00:23:05,583 --> 00:23:09,041
I'll go ahead and hide the scrolls.
457
00:23:09,125 --> 00:23:10,708
We don't need those right now.
458
00:23:10,708 --> 00:23:12,791
And then the last type of sound effect
I want to do
459
00:23:12,791 --> 00:23:16,333
is I actually want to go fishing
for a sound effect in the sound library.
460
00:23:16,541 --> 00:23:20,250
Now, sometimes you may have tens
of thousands of sound effects of your own
461
00:23:20,250 --> 00:23:21,791
that you use for your productions.
462
00:23:21,791 --> 00:23:25,666
Maybe you have thousands of music clips
that you have permission to use
463
00:23:25,916 --> 00:23:26,750
for your productions.
464
00:23:26,750 --> 00:23:30,375
You need to sort through those inserts
and go through and find them and rather
465
00:23:30,375 --> 00:23:33,625
than bring them all into your project
and then go fish,
466
00:23:33,708 --> 00:23:37,541
what you could do is you can index them
straight into the sound library.
467
00:23:37,791 --> 00:23:40,791
So let's go up and look at the sound
library for a moment.
468
00:23:40,875 --> 00:23:43,541
Up here at the top,
if you select sound library,
469
00:23:43,541 --> 00:23:46,958
you'll see that that is the new panel
here on the left hand side.
470
00:23:47,000 --> 00:23:49,916
Now, if this is the first time
you've ever used DaVinci Resolve
471
00:23:49,916 --> 00:23:53,458
on your system and you've never used
the sound library or downloaded
472
00:23:53,666 --> 00:23:56,541
the free sound library,
the Fairlight sound library that comes
473
00:23:56,541 --> 00:24:00,208
with DaVinci Resolve,
then you can do that right now
474
00:24:00,208 --> 00:24:04,041
by just clicking on the button to download
the Fairlight Sound Library now.
475
00:24:04,125 --> 00:24:08,875
And once it downloads, you fill in
the information then and you download it,
476
00:24:08,958 --> 00:24:12,208
then you install
and the next time you open up
477
00:24:12,208 --> 00:24:15,500
DaVinci Resolve, you will have the sound
library here ready to search.
478
00:24:15,500 --> 00:24:20,625
And there's over 500 fully sound effects
that you can use within your projects.
479
00:24:20,708 --> 00:24:25,916
In this case, I have, as you can see,
I have the sound library in here already.
480
00:24:25,916 --> 00:24:28,916
If I go ahead and click this panel
at the top right,
481
00:24:29,000 --> 00:24:31,750
this will let me see
all of my different databases.
482
00:24:31,750 --> 00:24:34,541
In this case, I have a local database
and the Fairlight Sound
483
00:24:34,541 --> 00:24:37,541
Library is going to be
the default art in the sound library.
484
00:24:37,541 --> 00:24:39,750
Once you have that installed.
485
00:24:39,750 --> 00:24:41,000
Now to see the different sound
486
00:24:41,000 --> 00:24:45,000
effects, a shortcut to be able
to see everything in your sound library,
487
00:24:45,000 --> 00:24:48,458
you just press the asterisks
key three times,
488
00:24:48,541 --> 00:24:53,166
and when you type Asterix three times
in your search field, you will see
489
00:24:53,250 --> 00:24:57,583
all of the different sounds and
this will give you everything from A to Z.
490
00:24:57,666 --> 00:24:58,750
It's quite an assortment.
491
00:24:58,750 --> 00:25:02,708
So everything from aluminum can crushing
and scurrying to
492
00:25:02,750 --> 00:25:06,750
what's good to Z, zippo lighters flicking.
493
00:25:06,833 --> 00:25:07,375
There you go.
494
00:25:07,375 --> 00:25:09,541
So that's quite a quite an assortment.
495
00:25:09,541 --> 00:25:13,000
And what we're looking for in this case,
let me clear my search
496
00:25:13,041 --> 00:25:18,000
and what we're looking for is a crashing
sound, the sound of well beyond crashing.
497
00:25:18,000 --> 00:25:19,791
We actually putting several sound effects
498
00:25:19,791 --> 00:25:23,916
to emulate
the colliding of two space pods.
499
00:25:24,166 --> 00:25:26,708
And so the glass breaks on Phillips pod.
500
00:25:26,708 --> 00:25:30,333
At one point I want to actually hear
a little bit of glass breaking.
501
00:25:30,416 --> 00:25:32,666
We're going to search for it
and bring up that glass sound.
502
00:25:32,666 --> 00:25:35,666
But I need to figure out what track
that's going to and where.
503
00:25:35,791 --> 00:25:39,500
So I better go back over to my index
real quickly and let's find
504
00:25:39,500 --> 00:25:44,666
where that crashing sounds go up here,
which has crashed is double click that.
505
00:25:44,833 --> 00:25:47,791
That's going to take me
to the general area where those go.
506
00:25:47,791 --> 00:25:51,458
Then I also want to go to my tracks
index and I need to bring up
507
00:25:51,541 --> 00:25:55,291
my glass breaking and I'll bring up
all my crash tracks here.
508
00:25:55,375 --> 00:25:58,625
I have four tracks that are being used
to create that crashing sound.
509
00:25:58,625 --> 00:26:00,791
I just made them visible.
510
00:26:00,875 --> 00:26:03,875
At this point, I can hide the pod jets.
511
00:26:03,875 --> 00:26:06,166
I don't really need to see those.
512
00:26:06,166 --> 00:26:09,000
And so here are the different crash
sound effects
513
00:26:09,000 --> 00:26:10,500
that are being used at the moment.
514
00:26:10,500 --> 00:26:12,458
I have three in the timeline.
515
00:26:12,458 --> 00:26:17,125
At the moment I can hide the index
and bring back my sound library.
516
00:26:17,125 --> 00:26:20,791
So right here I have a track, a nine,
which is my glass breaking.
517
00:26:21,000 --> 00:26:24,541
And what I'm going to do is let's find
where the glass actually breaks
518
00:26:24,541 --> 00:26:28,000
and then figure out a nice sound effect
that we could put in there
519
00:26:28,000 --> 00:26:30,000
from the Foley Library.
520
00:26:30,000 --> 00:26:32,416
So if I play this
521
00:26:32,416 --> 00:26:35,791
game right, there's the sound.
522
00:26:35,875 --> 00:26:36,208
Okay.
523
00:26:36,208 --> 00:26:40,333
So at the moment, those are the sounds
also both from the sound library
524
00:26:40,500 --> 00:26:43,500
that were put in there
to start to create the sound that we need.
525
00:26:43,750 --> 00:26:46,791
What I want to find
now is some kind of glass breaking. So.
526
00:26:46,791 --> 00:26:49,541
Right, let me go through it
one frame at a time,
527
00:26:49,541 --> 00:26:52,416
holding K and just tapping
the look as I go through there.
528
00:26:52,416 --> 00:26:53,000
Right there.
529
00:26:53,000 --> 00:26:59,458
Phillips Head hits the windshield and you
see a bit of a crack in the windshield.
530
00:26:59,541 --> 00:27:00,000
And so
531
00:27:00,000 --> 00:27:03,041
right there, that crash, that's something
532
00:27:03,041 --> 00:27:06,375
that we want to hear a little bit
of a glass of glass right at that moment.
533
00:27:06,375 --> 00:27:09,375
So somewhere right around
here is what we're looking for.
534
00:27:09,416 --> 00:27:11,500
Let's go find that glass sound effect.
535
00:27:11,500 --> 00:27:16,291
So we're going to come up
and just search for glass.
536
00:27:16,375 --> 00:27:18,458
And as you can see, there's
bartender removing
537
00:27:18,458 --> 00:27:21,458
glasses, there's glass tinkling
538
00:27:21,458 --> 00:27:25,541
and glass smashing and debris.
539
00:27:25,625 --> 00:27:26,750
And there's a few different things.
540
00:27:26,750 --> 00:27:29,750
There's a golf club hit impact on glass.
541
00:27:30,000 --> 00:27:32,458
That's interesting. None of which
is exactly what I'm looking for.
542
00:27:32,458 --> 00:27:34,250
I want to hear glass breaking.
543
00:27:34,250 --> 00:27:36,958
So let's be more specific.
544
00:27:36,958 --> 00:27:39,375
And by the way, when you're searching,
it's searching all fields.
545
00:27:39,375 --> 00:27:43,125
But they could be just by name
or if there's descriptor is can search
546
00:27:43,125 --> 00:27:45,208
by the description as well. So here we go.
547
00:27:45,208 --> 00:27:47,375
I have two different glass
breaking sounds.
548
00:27:47,375 --> 00:27:49,250
And when you're working
with a sound library,
549
00:27:49,250 --> 00:27:53,166
instead of just manually dragging it in
here, you can actually audition a sound.
550
00:27:53,250 --> 00:27:56,000
In order to do that,
you have to first select the track
551
00:27:56,000 --> 00:27:57,625
and wherever the play head happens to be,
that's
552
00:27:57,625 --> 00:27:59,750
where the sound
is going to drop into the timeline.
553
00:27:59,750 --> 00:28:01,500
So let's try this first one.
554
00:28:01,500 --> 00:28:03,500
I'm just going to select the glass break
555
00:28:03,500 --> 00:28:07,416
if I want to play it here in the sound
library, I can just press play
556
00:28:07,500 --> 00:28:10,166
and it's
definitely a glass breaking sound.
557
00:28:10,166 --> 00:28:13,208
If I want to drop it in to audition it,
all I have to do is click
558
00:28:13,208 --> 00:28:14,791
the audition button.
559
00:28:14,791 --> 00:28:16,500
It's going to put it
right into the timeline
560
00:28:16,500 --> 00:28:21,458
on the selected track,
and then I can play it through.
561
00:28:21,541 --> 00:28:24,250
Okay, it's a little excessive,
562
00:28:24,250 --> 00:28:26,375
but it does sound like a glass breaking.
563
00:28:26,375 --> 00:28:27,958
I'll give it that right now.
564
00:28:27,958 --> 00:28:31,958
If I'm not certain I want to use that
what I can do is I can just click, cancel
565
00:28:32,208 --> 00:28:33,625
or select another sound.
566
00:28:33,625 --> 00:28:36,500
And if I select a different sound notice
it disappeared from the timeline.
567
00:28:36,500 --> 00:28:39,000
I can now choose a different sound
if I want to.
568
00:28:39,000 --> 00:28:41,416
Let's hear the second one.
569
00:28:41,416 --> 00:28:46,208
I see the second one over here.
570
00:28:46,291 --> 00:28:48,083
Okay, that might be a little bit.
571
00:28:48,083 --> 00:28:50,333
It's a little more subtle.
I just want a slight crack.
572
00:28:50,333 --> 00:28:52,041
I don't want it to be so,
573
00:28:52,041 --> 00:28:53,958
you know, obviously
it didn't shatter the windshield.
574
00:28:53,958 --> 00:28:55,916
And Phillip
didn't just float out into space.
575
00:28:55,916 --> 00:28:57,458
So I think less is more.
576
00:28:57,458 --> 00:28:58,500
Let's go and try that one.
577
00:28:58,500 --> 00:29:03,416
I'm going to audition it and I can drop it
just randomly into the timeline.
578
00:29:03,416 --> 00:29:04,458
Now we have another choice.
579
00:29:04,458 --> 00:29:05,708
So instead of just dropping it
580
00:29:05,708 --> 00:29:10,208
in the entire piece,
then to undo that or just cancel that
581
00:29:10,250 --> 00:29:13,625
and instead, one of the things you can do
is you can actually set a sync point.
582
00:29:13,625 --> 00:29:14,333
So you can tell it.
583
00:29:14,333 --> 00:29:15,625
An exact
584
00:29:15,625 --> 00:29:19,791
frame of that sound effect will match
to wherever your play head happens to be.
585
00:29:20,000 --> 00:29:22,166
Let's do that.
So I'm going to come back over here
586
00:29:22,166 --> 00:29:25,791
to the sound effects,
and I'm going to find
587
00:29:25,875 --> 00:29:26,875
right there in
588
00:29:26,875 --> 00:29:29,875
the middle of that sound effect.
589
00:29:29,875 --> 00:29:30,750
Right.
590
00:29:30,750 --> 00:29:32,583
Let's see after the first click, like,
591
00:29:32,583 --> 00:29:34,333
let's see how there are several peaks
there.
592
00:29:34,333 --> 00:29:36,125
Let's go right on the second peak.
593
00:29:36,125 --> 00:29:39,541
That's where I want the sound effect
to sync up to my play head.
594
00:29:39,625 --> 00:29:42,916
And I'm going to come over here
to this button that shows
595
00:29:43,000 --> 00:29:45,083
this band right here, a set sync point.
596
00:29:45,083 --> 00:29:48,541
You can see you can set an endpoint,
mark an out point or a sync point.
597
00:29:48,541 --> 00:29:50,958
And the one I want to use
is the sync point.
598
00:29:50,958 --> 00:29:54,708
When I click that, it's
going to place a green play
599
00:29:54,708 --> 00:29:57,875
head on
600
00:29:57,958 --> 00:30:00,958
right there, that you see a green play
head right there on my Sound Effect.
601
00:30:00,958 --> 00:30:03,958
That's going to show me
where my sync point is.
602
00:30:04,000 --> 00:30:06,750
So when I come over to my sound
603
00:30:06,750 --> 00:30:09,583
in my library
and I start looking at this, I'm
604
00:30:09,583 --> 00:30:13,416
going to see the clinking notice,
how he first clinks into that.
605
00:30:13,500 --> 00:30:15,833
And instead of being the exact frame
where he hits, I'm
606
00:30:15,833 --> 00:30:18,666
going to be in a couple of frames
as he's starting to pull back.
607
00:30:18,666 --> 00:30:21,750
That's what I'm sinking to
and then I'll click audition.
608
00:30:21,958 --> 00:30:25,750
So it puts it into position
and let's see if that one works
609
00:30:25,833 --> 00:30:28,166
first
610
00:30:28,166 --> 00:30:31,041
for Philip.
611
00:30:31,041 --> 00:30:32,208
Okay,
612
00:30:32,208 --> 00:30:34,541
so now, unfortunately,
when I stepped out of there,
613
00:30:34,541 --> 00:30:38,458
I auditioned it, but I didn't
actually commit and so it disappeared.
614
00:30:38,500 --> 00:30:41,416
So keep in mind, don't
forget to put your play
615
00:30:41,416 --> 00:30:44,375
where you want it to go
and then make sure you audition.
616
00:30:44,375 --> 00:30:46,916
If you like the sound, then confirm.
617
00:30:46,916 --> 00:30:50,791
And that way
it will stay exactly where it is
618
00:30:50,875 --> 00:30:55,291
and see that again.
619
00:30:55,375 --> 00:30:55,833
Okay.
620
00:30:55,833 --> 00:30:56,666
And there's your sound.
621
00:30:56,666 --> 00:30:59,875
And of course, after that I could decide
if I wanted to change the pitch
622
00:31:00,083 --> 00:31:01,916
or adjust the timing
or anything like that.
623
00:31:01,916 --> 00:31:04,583
But the important thing
is, as you can see, you can go through
624
00:31:04,583 --> 00:31:08,583
and you can work with different
sounds right there in the sound library.
625
00:31:08,750 --> 00:31:12,000
You can actually create a new database
for, let's say, your music
626
00:31:12,208 --> 00:31:15,833
that you like to work with,
and you can index those right into
627
00:31:15,833 --> 00:31:17,875
your sound library,
into a different database.
628
00:31:17,875 --> 00:31:20,125
And let me clear this out,
629
00:31:20,125 --> 00:31:22,791
and that's where you could choose
a different database
630
00:31:22,791 --> 00:31:25,833
and once you're in a different database
like I am here,
631
00:31:26,000 --> 00:31:29,791
I can add any kind of library
I wanted to, whether it's my own music,
632
00:31:30,000 --> 00:31:30,958
different sound effects
633
00:31:30,958 --> 00:31:34,708
library that I want to work with or so on,
you can index it to another database.
634
00:31:34,875 --> 00:31:39,208
You can even make separate databases
just to bring in all of your different
635
00:31:39,208 --> 00:31:40,791
sounds and organize those,
636
00:31:40,791 --> 00:31:44,666
and then you can search them all
at any time on the same system.
637
00:31:44,750 --> 00:31:47,000
So that is working with the sound library.
638
00:31:47,000 --> 00:31:47,666
And those are just
639
00:31:47,666 --> 00:31:51,666
some of the different techniques
we have for working with sound effects.
640
00:31:51,750 --> 00:31:56,875
And so next, I want to leave this timeline
and let's go into a different one.
641
00:31:56,875 --> 00:32:00,250
I'm going to come down here
to something called Sound Design.
642
00:32:00,416 --> 00:32:02,750
Our sound design
is a little more creative, right?
643
00:32:02,750 --> 00:32:07,125
Instead of just adding the sound effects,
which is also creative and pretty fun, is
644
00:32:07,250 --> 00:32:08,875
what sound design is
where you're taking things
645
00:32:08,875 --> 00:32:12,708
me to the next level and instead of
just taking the sound as is, we have to
646
00:32:12,708 --> 00:32:15,750
now craft it to achieve some sort of goal,
647
00:32:15,750 --> 00:32:19,291
whether it's to make it feel like
it belongs in a specific space, or
648
00:32:19,291 --> 00:32:23,083
in this case, we're going to take a voice
and make it sound more like a computer.
649
00:32:23,166 --> 00:32:24,541
And so to do that, we're going to need
650
00:32:24,541 --> 00:32:28,375
to do a little bit of processing or add
some different effects and things to it.
651
00:32:28,583 --> 00:32:32,791
And you through that creative process,
we can create something
652
00:32:32,791 --> 00:32:34,166
completely different.
653
00:32:34,166 --> 00:32:37,166
And along the way, what's nice is because
654
00:32:37,208 --> 00:32:41,166
we're working with Da Vinci Resolve
instead of just a standalone duh
655
00:32:41,208 --> 00:32:45,500
digital audio workstation is we have
the ability to have multiple timelines
656
00:32:45,500 --> 00:32:48,500
and we have room where
we can just experiment with our sounds
657
00:32:48,750 --> 00:32:53,166
outside of our main timeline,
where our project is still in the project.
658
00:32:53,333 --> 00:32:57,000
But instead of going into my main timeline
and making a big mess, you know,
659
00:32:57,000 --> 00:32:59,166
this is an art form
when you're doing sound design.
660
00:32:59,166 --> 00:33:00,416
So you can come in here,
661
00:33:00,416 --> 00:33:03,916
go to a timeline, try all sorts of things
until you get what you want.
662
00:33:04,166 --> 00:33:08,000
Save that and just copy the parts
that you want into your main timeline.
663
00:33:08,208 --> 00:33:11,208
And we can do all of that here
within a project.
664
00:33:11,250 --> 00:33:13,416
And so I'm going to close up
the media pool
665
00:33:13,416 --> 00:33:16,750
and let's just listen to the sound now,
because this is sound.
666
00:33:16,750 --> 00:33:17,458
There's no picture.
667
00:33:17,458 --> 00:33:19,916
I can go ahead and hide my meters.
668
00:33:19,916 --> 00:33:21,750
And at this moment,
I don't even need my mixer.
669
00:33:21,750 --> 00:33:28,291
Let's just look at this particular track
and this is eighties test voice you which
670
00:33:28,375 --> 00:33:32,583
this was basically a piece of voiceover
that was recorded earlier.
671
00:33:32,666 --> 00:33:35,833
Amelie on a new tune.
672
00:33:35,916 --> 00:33:39,041
Yes. So it's just reading a voice now.
673
00:33:39,041 --> 00:33:41,333
We want to make this sound a little bit
more like a computer,
674
00:33:41,333 --> 00:33:43,250
so there's different things
that we could do.
675
00:33:43,250 --> 00:33:47,000
One of those is we can create
kind of a composite image with the sound
676
00:33:47,000 --> 00:33:50,000
similar to what you would do
if you were compositing visuals.
677
00:33:50,041 --> 00:33:53,458
If you've ever composited
one shot to itself
678
00:33:53,541 --> 00:33:57,000
to kind of make it richer or,
you know, add a little depth to it,
679
00:33:57,208 --> 00:34:00,500
you might just blend it together
using some sort of blend mode.
680
00:34:00,500 --> 00:34:03,083
You just lower the opacity on one of the,
681
00:34:03,083 --> 00:34:06,500
you know, on the upper clip,
but it's the same clip being it to itself.
682
00:34:06,750 --> 00:34:10,125
And we did the same thing with sound
by blending a clip to itself.
683
00:34:10,250 --> 00:34:12,750
You just lower the volume
instead of the opacity
684
00:34:12,750 --> 00:34:14,458
and maybe change the pitch a little bit,
685
00:34:14,458 --> 00:34:16,583
which is what I'm going to show you
right here.
686
00:34:16,583 --> 00:34:18,666
So this clip has been unaffected.
687
00:34:18,666 --> 00:34:20,083
And what I want to do is selected.
688
00:34:20,083 --> 00:34:22,666
And let's go over to the inspector
689
00:34:22,750 --> 00:34:23,458
now. In order
690
00:34:23,458 --> 00:34:26,458
to have this play continuously,
what we're going to do
691
00:34:26,458 --> 00:34:29,750
is just click the button up at the top
here, the loop button.
692
00:34:29,916 --> 00:34:31,500
It's right there
in your transport controls.
693
00:34:31,500 --> 00:34:34,916
If you turn that on, that means
any time I play, it gets to the end.
694
00:34:35,000 --> 00:34:38,208
It will just automatically continue
and go back to the beginning and play
695
00:34:38,291 --> 00:34:39,750
continuously in a loop.
696
00:34:39,750 --> 00:34:40,500
Whether you're playing
697
00:34:40,500 --> 00:34:45,333
loop playback of a selected area
in a range or the entire timeline.
698
00:34:45,416 --> 00:34:46,875
And so I can start playback.
699
00:34:46,875 --> 00:34:50,250
And what I want to show you
here is pitch in my inspector.
700
00:34:50,250 --> 00:34:53,833
Anytime you select a clip,
you have the ability to adjust the volume.
701
00:34:54,000 --> 00:34:56,125
You could pan the clips
702
00:34:56,125 --> 00:34:58,708
direction between the two speakers
if you needed to,
703
00:34:58,708 --> 00:35:01,333
but pitch is the one
we're going to be focusing on right here.
704
00:35:01,333 --> 00:35:06,208
I can change it
higher or lower by up to 24,
705
00:35:06,250 --> 00:35:11,291
so my tones in either direction now, semi
tones, 12 semi tones will be an octave.
706
00:35:11,416 --> 00:35:15,791
If you're thinking of a piano keys
on a piano, the white and black keys
707
00:35:15,875 --> 00:35:19,416
when they repeated one octave is 12 keys
708
00:35:19,500 --> 00:35:23,208
and then you get to the next octave higher
or lower of the exact same 12 keys.
709
00:35:23,208 --> 00:35:24,208
They're just higher, lower.
710
00:35:24,208 --> 00:35:29,416
And then the same thing with semi tones
every 12 semitone is an octave.
711
00:35:29,666 --> 00:35:31,958
And so I can change that even
while it's playing.
712
00:35:31,958 --> 00:35:34,166
Leona Newton.
713
00:35:34,250 --> 00:35:37,708
You're
714
00:35:37,791 --> 00:35:38,125
back.
715
00:35:38,125 --> 00:35:40,500
It gets pretty, pretty deep,
pretty fast, right?
716
00:35:40,500 --> 00:35:41,541
And I can go the other way.
717
00:35:41,541 --> 00:35:44,541
I cannot. Explain this.
718
00:35:44,666 --> 00:35:45,125
Right.
719
00:35:45,125 --> 00:35:47,083
So you can change that and decide
which one you want
720
00:35:47,083 --> 00:35:48,458
and obviously those are pretty extreme,
721
00:35:48,458 --> 00:35:51,583
but you can also change your voice
to sound more like a child.
722
00:35:51,583 --> 00:35:56,625
Birth date is March 22nd, 2103.
723
00:35:56,708 --> 00:35:59,708
It sounds like it's on a Newton.
724
00:35:59,791 --> 00:36:03,625
Yes, Phillip Madan came up, made.
725
00:36:03,625 --> 00:36:07,666
It so we can have a child computer
or we could go the other direction.
726
00:36:07,750 --> 00:36:10,750
I cannot explain this discrepancy.
727
00:36:10,916 --> 00:36:13,750
Earth Day is okay,
and so that's just making minor changes.
728
00:36:13,750 --> 00:36:16,041
Now, what I'd like to do
is let's blend it to itself.
729
00:36:16,041 --> 00:36:20,875
So we're going select the first one
in the top track option key and drag down
730
00:36:20,958 --> 00:36:24,000
and by option and dragging down,
I've just made a duplicate directly
731
00:36:24,000 --> 00:36:25,916
underneath it in the exact same position.
732
00:36:25,916 --> 00:36:27,791
And now we're going to change the pitch.
733
00:36:27,791 --> 00:36:32,000
So while they're playing at the same time,
I'm going to lower the pitch.
734
00:36:32,166 --> 00:36:38,250
21 03a on a Newton.
735
00:36:38,333 --> 00:36:41,250
Yes, Phillip made a.
736
00:36:41,250 --> 00:36:44,166
So I lowered it by an entire octave -12.
737
00:36:44,166 --> 00:36:46,416
Now, if you're wondering. Well,
those are the semi tones.
738
00:36:46,416 --> 00:36:47,458
What are sense.
739
00:36:47,458 --> 00:36:51,625
Well since there are 100 sense
within a semitone,
740
00:36:51,625 --> 00:36:54,666
so think of it as in like
the American dollar, we have 100 cents
741
00:36:54,666 --> 00:36:59,375
within $1
you have 100 cents within one semitone.
742
00:36:59,375 --> 00:37:02,333
So you can make very fine
incremental changes as well.
743
00:37:02,333 --> 00:37:06,541
Instead of blending something
quite so heavily, but by adding
744
00:37:06,625 --> 00:37:09,916
a lower version of a clip to itself,
you do add
745
00:37:09,916 --> 00:37:13,916
kind of a nice low end to it,
which really stands out sometimes.
746
00:37:14,000 --> 00:37:17,000
The trick is you have to also lower
the volume.
747
00:37:17,000 --> 00:37:19,166
Now, in this case,
I've lowered both of them.
748
00:37:19,166 --> 00:37:21,791
I only want to lower the one on the on
the bottom.
749
00:37:21,791 --> 00:37:24,083
Let's do that by 12.
750
00:37:24,083 --> 00:37:25,125
And then I can lower the volume.
751
00:37:25,125 --> 00:37:30,500
The state is my 22nd 2103
752
00:37:30,583 --> 00:37:32,541
a million a new tune.
753
00:37:32,541 --> 00:37:34,625
And you're hearing
the two of those blended together.
754
00:37:34,625 --> 00:37:36,166
And I'll go ahead and reset that for now.
755
00:37:36,166 --> 00:37:39,208
Just giving you an idea
of some of the things that you can do.
756
00:37:39,291 --> 00:37:41,041
And by the way,
if you want to change the volume level
757
00:37:41,041 --> 00:37:43,333
on something, if you've been doing it
right there on the clip,
758
00:37:43,333 --> 00:37:46,500
you just double click and it puts it
right back to where it should be.
759
00:37:46,583 --> 00:37:49,500
So instead of doing that,
let's leave this one
760
00:37:49,500 --> 00:37:52,500
where it is and instead
and make sure you reset
761
00:37:52,583 --> 00:37:56,333
so that it's the volume is the same
and we haven't changed the pitch.
762
00:37:56,333 --> 00:37:58,416
And instead
what I'm going to do is add a plug in now,
763
00:37:58,416 --> 00:38:00,541
which will make it sound
like more than one voice.
764
00:38:00,541 --> 00:38:02,958
Again, we're going for that computer voice
sound.
765
00:38:02,958 --> 00:38:05,750
Let's go over to the effects library
and we're going to find a plug in.
766
00:38:05,750 --> 00:38:08,958
And in this case, the plug in we're
looking for is the chorus plug in which,
767
00:38:09,208 --> 00:38:13,625
as you would think of in
a chorus of human beings, it is a chorus
768
00:38:13,708 --> 00:38:16,083
plug in which will make
it sound like more than one voice.
769
00:38:16,083 --> 00:38:17,416
Now, when you add a plug
770
00:38:17,416 --> 00:38:21,250
in, you can drop it onto a track
or you can put it on a clip.
771
00:38:21,291 --> 00:38:26,083
When it comes to clips,
you can put unlimited plug ins on a clip,
772
00:38:26,166 --> 00:38:29,333
but you can only put six on a track.
773
00:38:29,333 --> 00:38:32,875
So you kind of have to manage your plug
ins as you go.
774
00:38:33,083 --> 00:38:37,083
In this case, we can go ahead and drop it
right there on the clip
775
00:38:37,166 --> 00:38:40,416
and we go, I just put the chorus
plug in on this clip.
776
00:38:40,500 --> 00:38:43,583
And by doing so,
the plug in shows up here.
777
00:38:43,625 --> 00:38:45,750
Obviously, you see that plug in window.
778
00:38:45,750 --> 00:38:49,750
And if you look at the inspector
for the selected clip,
779
00:38:49,791 --> 00:38:54,541
you will see that the effects tab
has been illuminated there.
780
00:38:54,541 --> 00:38:57,916
If I select that,
it shows me there is my course plug in.
781
00:38:58,000 --> 00:39:01,375
Now if I close this interface window
that comes with the plug in
782
00:39:01,375 --> 00:39:02,333
for making adjustments,
783
00:39:02,333 --> 00:39:06,208
you can open that up at any time
by just clicking this button right here.
784
00:39:06,208 --> 00:39:07,583
That's the custom button and.
785
00:39:07,583 --> 00:39:11,541
If you click on that, it will allow you
to open up that window again very easily.
786
00:39:11,541 --> 00:39:14,041
Just click it and there it is.
787
00:39:14,041 --> 00:39:17,250
So that lets us work with these controls.
788
00:39:17,250 --> 00:39:20,541
And in this case, it's going to make
it sound like it's more than one voice.
789
00:39:20,750 --> 00:39:23,250
I'm going to use one of the presets
790
00:39:23,250 --> 00:39:25,708
right here, and we have several
different presets to choose from.
791
00:39:25,708 --> 00:39:28,958
We'll use the dramatic one,
but if I just start playback here
792
00:39:29,041 --> 00:39:33,000
and let's slow this tracks,
we're only listening to the one
793
00:39:33,000 --> 00:39:36,291
with the course applied
and then I can play.
794
00:39:36,291 --> 00:39:39,666
If I look made a fill up media,
795
00:39:39,750 --> 00:39:42,125
I cannot explain this discrepancy.
796
00:39:42,125 --> 00:39:45,333
And that's what it sounds like
with the plug in 22nd.
797
00:39:45,416 --> 00:39:47,458
And as you can see, it's
kind of got a bit of a computer
798
00:39:47,458 --> 00:39:50,000
sound to it now,
which is exactly what I was looking for.
799
00:39:50,000 --> 00:39:53,208
And one of the thing when you're working
with the plug ins and by the way,
800
00:39:53,416 --> 00:39:56,208
these are all the plug ins
that come with DaVinci Resolve.
801
00:39:56,208 --> 00:39:59,416
If you're working with Da Vinci
Resolve Studio, you can also use
802
00:39:59,416 --> 00:40:04,500
your VST plug ins that are on your system
and your audio unit's plug ins as well.
803
00:40:04,583 --> 00:40:05,250
Now, if you
804
00:40:05,250 --> 00:40:08,333
look on this interface, in addition
to having different
805
00:40:08,333 --> 00:40:11,458
presets, you can of course
make your own changes to the controls.
806
00:40:11,458 --> 00:40:17,166
You can save presets, new ones, but
you will always see a dry, wet control.
807
00:40:17,250 --> 00:40:19,291
So look at that right here,
this dry, wet control.
808
00:40:19,291 --> 00:40:21,791
And what that does
is this adjusts the amount
809
00:40:21,791 --> 00:40:25,083
that you have applied
to that particular clip.
810
00:40:25,333 --> 00:40:27,958
So if I reset that, it's only 25%.
811
00:40:27,958 --> 00:40:32,666
If I do it all the way, that means it's
100% of the sound that we're hearing
812
00:40:32,666 --> 00:40:35,916
has been affected. So that's 100%.
813
00:40:36,000 --> 00:40:37,833
A million a Newton.
814
00:40:37,833 --> 00:40:40,083
And this is only 50.
815
00:40:40,083 --> 00:40:41,041
Phillip made it.
816
00:40:41,041 --> 00:40:43,916
So now I'm hearing half of the clip
without an effect
817
00:40:43,916 --> 00:40:47,750
and then processed
so it's kind of a nice blend there.
818
00:40:47,750 --> 00:40:52,208
So just finding that happy place and
how much of the effect you actually want.
819
00:40:52,291 --> 00:40:55,833
No matter I cannot explain this.
820
00:40:55,916 --> 00:40:57,166
Okay, that's working for me.
821
00:40:57,166 --> 00:40:58,750
So that's great.
I'm going to close this up.
822
00:40:58,750 --> 00:41:00,916
So we've now made more of a computer
sound.
823
00:41:00,916 --> 00:41:03,625
Not too obnoxious, but just enough
824
00:41:03,708 --> 00:41:05,458
of a change in mask.
825
00:41:05,458 --> 00:41:07,916
And so what I want to do
is I actually want to bake it
826
00:41:07,916 --> 00:41:12,250
with those effects in it to be able
to take somewhere else to work with.
827
00:41:12,333 --> 00:41:14,000
We can even apply one more thing.
828
00:41:14,000 --> 00:41:16,333
Let me go up here.
829
00:41:16,333 --> 00:41:18,458
I kind of want to lower the pitch
just a little bit.
830
00:41:18,458 --> 00:41:22,458
So let's go back to audio
and let's just forward by 1/22.
831
00:41:22,458 --> 00:41:24,750
2103.
832
00:41:24,750 --> 00:41:27,416
So let's just say that's the eighth voice
we're going for.
833
00:41:27,416 --> 00:41:28,541
So we have it set.
834
00:41:28,541 --> 00:41:31,708
We've made a couple of changes to it
and now I want to bounce this.
835
00:41:31,708 --> 00:41:34,750
And so when I bounce it, there's
several different ways you can bounce.
836
00:41:34,750 --> 00:41:37,750
You can bounce,
meaning render it into a new file.
837
00:41:37,791 --> 00:41:39,416
We can render the entire mix,
838
00:41:39,416 --> 00:41:43,083
which means everything from every track
or any solo track,
839
00:41:43,166 --> 00:41:47,208
and it will match format of
whatever my bus is that I'm bouncing from,
840
00:41:47,291 --> 00:41:51,583
or I can just bounce the track itself
or the the selection.
841
00:41:51,583 --> 00:41:54,708
And that's what I'm going to do.
We're going to bounce this clip
842
00:41:54,791 --> 00:41:56,125
as a layer to itself.
843
00:41:56,125 --> 00:41:56,458
Okay?
844
00:41:56,458 --> 00:42:00,791
So to do that will come up
and I can come up here.
845
00:42:00,875 --> 00:42:06,666
And if you look up at the top,
we can go to the timeline menu
846
00:42:06,666 --> 00:42:10,500
and we can bounce
that selected track to a new layer.
847
00:42:10,583 --> 00:42:12,666
And if I do that
848
00:42:12,666 --> 00:42:15,750
and we actually have to select
the track first,
849
00:42:15,750 --> 00:42:18,875
which obviously I haven't done
and you need to mark a range.
850
00:42:18,875 --> 00:42:22,041
And so luckily it will show you
if you need to do something like that,
851
00:42:22,250 --> 00:42:25,583
I'll use my range tool
to quickly mark a range which I can do.
852
00:42:25,583 --> 00:42:28,375
It also selects the track for me,
which is nice.
853
00:42:28,375 --> 00:42:31,875
Go back to that arrow tool and I'm going
to come up and do that again.
854
00:42:31,875 --> 00:42:35,916
Bounce selected track to a new layer
and notice it just bounced it for me
855
00:42:36,000 --> 00:42:37,583
and we go, and that has.
856
00:42:37,583 --> 00:42:39,500
A million new tune.
857
00:42:39,500 --> 00:42:44,333
Now that has the effect on it is now
sitting above the original in a new layer.
858
00:42:44,583 --> 00:42:45,791
Now another option
859
00:42:45,791 --> 00:42:50,208
I have if I wanted to bounce
this is I'm going to move this down.
860
00:42:50,208 --> 00:42:52,250
Here is another option.
861
00:42:52,250 --> 00:42:56,750
Have as you can also bounce your effects
and bake those right into the clip
862
00:42:56,833 --> 00:42:57,916
by catching it.
863
00:42:57,916 --> 00:43:02,000
So notice this clip
right here has that effect that's on it.
864
00:43:02,083 --> 00:43:02,333
Yeah.
865
00:43:02,333 --> 00:43:04,291
At the top,
this is the one that has been bounced.
866
00:43:04,291 --> 00:43:07,250
But if I right click on this,
I could choose
867
00:43:07,250 --> 00:43:10,916
to catch those audio effects
or bounce the audio effects.
868
00:43:10,916 --> 00:43:13,958
And if I do any of the effects
that are applied to clip right there,
869
00:43:13,958 --> 00:43:17,583
whether I have 5050
different effects on one clip,
870
00:43:17,791 --> 00:43:21,500
I could just bounces right now
and I'll just render out a new file
871
00:43:21,750 --> 00:43:22,666
or I could crash.
872
00:43:22,666 --> 00:43:24,375
In this case, I'll bounce it,
873
00:43:24,375 --> 00:43:27,375
here we go and just bounce
the audio effects that way as well.
874
00:43:27,583 --> 00:43:32,333
So whether it was one effect
or 50 effects, however
875
00:43:32,333 --> 00:43:36,041
many I had on that, it would just rendered
into a new file, as you can see.
876
00:43:36,125 --> 00:43:38,458
So let's listen to this one.
877
00:43:38,458 --> 00:43:41,333
NEWTON
okay, so mission accomplished There.
878
00:43:41,333 --> 00:43:43,958
Now, let's say we wanted to take this
another step.
879
00:43:43,958 --> 00:43:48,125
Let's say I want to take this file
and now I want to add some e
880
00:43:48,208 --> 00:43:50,750
e Q and distortion to it. Okay.
881
00:43:50,750 --> 00:43:53,500
I want to take it
one more step. Okay, Let's do that.
882
00:43:53,500 --> 00:43:56,916
I'm going to take the bounced effect
and bring it down here.
883
00:43:57,000 --> 00:43:59,250
Notice
that. I'll put that back for a second.
884
00:43:59,250 --> 00:44:03,125
If I look at my audio track layers,
you'll see that when you bounce
885
00:44:03,208 --> 00:44:07,041
the audio effects, you'll see it's
sitting right on top of the original.
886
00:44:07,166 --> 00:44:12,250
And the original has been disarmed,
disabled right there in the or muted.
887
00:44:12,291 --> 00:44:13,791
So it makes it easy for you to move it.
888
00:44:13,791 --> 00:44:16,500
You can always re-enable it
if you want to.
889
00:44:16,500 --> 00:44:20,333
I'm going to go ahead and hide those audio
track layers and let's move this down.
890
00:44:20,333 --> 00:44:21,708
I'm going to move it into its own track.
891
00:44:21,708 --> 00:44:23,625
And notice
if I want to enable the original,
892
00:44:23,625 --> 00:44:27,375
I just press D
and that will enable or disable that clip.
893
00:44:27,375 --> 00:44:30,958
I'll leave it disabled for now
and I'm going to solo this lower track.
894
00:44:30,958 --> 00:44:34,416
So this one, I'd like to add
a little bit of distortion
895
00:44:34,583 --> 00:44:38,500
and some e cue to make an effect
with that one. Yes.
896
00:44:38,583 --> 00:44:43,916
So right now this is my balanced version
sounding more and more like a computer.
897
00:44:43,916 --> 00:44:46,166
But let's just put it over
the top, shall we?
898
00:44:46,166 --> 00:44:50,333
Let's let's go ahead and look at
what if we wanted it to sound like
899
00:44:50,333 --> 00:44:53,583
it was coming out of a smaller space,
like a smaller speaker?
900
00:44:53,666 --> 00:44:56,000
Well, to do that,
we could work with the E.
901
00:44:56,000 --> 00:44:59,000
Q that's applied to that actual clip,
902
00:44:59,083 --> 00:45:02,958
or we could work on the issue on the track
itself.
903
00:45:03,041 --> 00:45:05,666
Now, if you notice
that any clip that you select,
904
00:45:05,666 --> 00:45:09,208
if you look over here in the inspector,
you will see there is my E
905
00:45:09,250 --> 00:45:13,875
Q A for band e, Q for the selected clip.
906
00:45:14,125 --> 00:45:18,458
So you can do your e Q
right here on a clip by clip basis
907
00:45:18,500 --> 00:45:22,125
or a tied the inspector
and bring up our mixer.
908
00:45:22,208 --> 00:45:25,875
Another place you can work with e
Q is on a track basis,
909
00:45:26,125 --> 00:45:29,750
and every single track
individually is all Fairlight has.
910
00:45:30,000 --> 00:45:33,041
Q Built in a seven band
each you we have dynamics
911
00:45:33,208 --> 00:45:36,208
and then all of your panning built
right into the mixer.
912
00:45:36,291 --> 00:45:38,875
So let's take this e Q Why not?
913
00:45:38,875 --> 00:45:39,958
I've selected the tracks.
914
00:45:39,958 --> 00:45:42,541
I can find exactly where it is
to open it up.
915
00:45:42,541 --> 00:45:43,916
And what we're going to do
is I'm going to show you
916
00:45:43,916 --> 00:45:45,958
how we can narrow those frequencies,
917
00:45:45,958 --> 00:45:48,958
because that's what's going to make
it sound like it's coming out of a smaller
918
00:45:49,166 --> 00:45:49,625
item.
919
00:45:49,625 --> 00:45:52,208
Because if you notice,
if you have something like a cell phone
920
00:45:52,208 --> 00:45:55,791
and you ever listen to the speaker,
you're not hearing really high frequencies
921
00:45:55,791 --> 00:45:57,916
and you're never in speaker mode
922
00:45:57,916 --> 00:45:59,250
or the really low frequencies,
923
00:45:59,250 --> 00:46:01,958
you're going to hear the range
that it's able to play, right?
924
00:46:01,958 --> 00:46:03,833
That one dynamic range,
which is usually going to
925
00:46:03,833 --> 00:46:07,625
be a geared towards
voice, is making sure you can hear people,
926
00:46:07,708 --> 00:46:10,416
if you ever listen
to megaphones or systems
927
00:46:10,416 --> 00:46:13,250
or if you've been at a train station
and you hear the announcements,
928
00:46:13,250 --> 00:46:14,291
they can't play everything.
929
00:46:14,291 --> 00:46:18,541
It doesn't sound awesome, but hopefully
it's just the frequencies you need, right?
930
00:46:18,541 --> 00:46:21,916
And that's going to
be by right here in our HQ.
931
00:46:22,000 --> 00:46:22,916
If you notice the
932
00:46:22,916 --> 00:46:26,541
Q across the bottom of this equalizer,
you'll see it
933
00:46:26,541 --> 00:46:30,958
basically shows
the range of human hearing from 20 hertz
934
00:46:31,000 --> 00:46:35,291
is as the low end
all the way up to 20 or 20,000 hertz,
935
00:46:35,291 --> 00:46:39,750
and that's usually the range
that human ears can perceive.
936
00:46:39,958 --> 00:46:42,833
That's why we kind of limit
our gear towards that, because you're
937
00:46:42,833 --> 00:46:47,625
not going to hear anything above or below
that usually, if you can. Wow.
938
00:46:47,708 --> 00:46:50,625
But so one of the things we'll do
is we'll turn on our band
939
00:46:50,625 --> 00:46:52,666
one and I'll turn on my band six.
940
00:46:52,666 --> 00:46:55,083
You'll notice those look an awful
lot like a fade, don't they?
941
00:46:55,083 --> 00:46:57,208
It looks like
there's a fade in and a fade.
942
00:46:57,208 --> 00:46:59,958
But what that's actually doing
is it's just rolling off
943
00:46:59,958 --> 00:47:04,166
the highest frequencies
and the lowest frequencies. A
944
00:47:04,250 --> 00:47:05,291
couple of things to remember
945
00:47:05,291 --> 00:47:09,000
when you're working with frequencies
is, of course, there's two.
946
00:47:09,083 --> 00:47:11,958
When you're dealing with dialog,
there's two ranges that you don't want
947
00:47:11,958 --> 00:47:15,875
to lose when you're starting
to narrow frequencies for any reason.
948
00:47:15,958 --> 00:47:21,041
And that is down at the bottom end,
between 103 hundred hertz
949
00:47:21,125 --> 00:47:26,000
is going to be your clarity of dialog
is going to be controlled in that area
950
00:47:26,083 --> 00:47:29,875
and between one K and three K
951
00:47:29,875 --> 00:47:34,208
or 1003 thousand hertz,
that's going to be your intelligibility.
952
00:47:34,375 --> 00:47:36,541
And so if you shave out
953
00:47:36,541 --> 00:47:39,291
too much of the intelligibility,
you'll hear that there's a voice,
954
00:47:39,291 --> 00:47:41,541
but you won't have a hard time
understanding it.
955
00:47:41,541 --> 00:47:45,083
And so that's why there's a sweet spot
where we can really hear
956
00:47:45,083 --> 00:47:46,875
and understand our dialog.
957
00:47:46,875 --> 00:47:49,500
And so as I play this,
958
00:47:49,583 --> 00:47:52,583
go ahead and start this playback meter.
959
00:47:52,583 --> 00:47:54,541
You can hear the voice right now.
960
00:47:54,541 --> 00:47:58,125
The sea Earth Day is March 22nd.
961
00:47:58,208 --> 00:48:01,458
But what I can do is
I can narrow that range in a little bit.
962
00:48:01,458 --> 00:48:03,458
I'm just going to pull down the high end.
963
00:48:03,458 --> 00:48:05,541
And what this is,
this is a low pass filter.
964
00:48:05,541 --> 00:48:09,416
Anything in the shaded area,
I'm not going to hear those frequencies.
965
00:48:09,500 --> 00:48:14,750
21 over 3 million now.
966
00:48:14,750 --> 00:48:18,958
I've just cut into the one k
the three K area that I told you
967
00:48:18,958 --> 00:48:20,750
not to do for intelligibility.
968
00:48:20,750 --> 00:48:24,583
And let me ask you,
can you understand this now? Yes.
969
00:48:24,666 --> 00:48:26,541
A little later, right.
970
00:48:26,541 --> 00:48:29,250
You can hear that there's a voice,
but you have no idea what they're saying.
971
00:48:29,250 --> 00:48:32,166
And that's because I went in too far.
Same thing on the left.
972
00:48:32,166 --> 00:48:35,041
This is our clarity area.
So I can shave in a little bit of that.
973
00:48:35,041 --> 00:48:39,250
But I don't want to dip into that 100
or 300 meter.
974
00:48:39,333 --> 00:48:43,625
I can't explain that
it's going to be Earth Day.
975
00:48:43,708 --> 00:48:47,458
So I've just narrowed it in
and that's one option I have. Now.
976
00:48:47,458 --> 00:48:51,208
Another thing you can do with your IQ,
since this is sound design, is
977
00:48:51,458 --> 00:48:52,833
you can also limit frequencies.
978
00:48:52,833 --> 00:48:55,875
If you want something to sound like
it's on the other side of a wall.
979
00:48:55,875 --> 00:48:58,875
And I'll show you that in a minute
with some footsteps.
980
00:48:58,875 --> 00:49:00,750
So go ahead and shave this off.
981
00:49:00,750 --> 00:49:03,625
Now, we also have plug ins
that will do some of this as well.
982
00:49:03,625 --> 00:49:05,666
So I'll just take in about that much.
983
00:49:05,666 --> 00:49:07,833
But we also have some plug ins
that will do that sort of thing.
984
00:49:07,833 --> 00:49:12,625
I'm going to add a distortion
plug in to this track.
985
00:49:12,708 --> 00:49:13,333
Okay.
986
00:49:13,333 --> 00:49:16,750
And here's my distortion now,
this will give me a nice distorted sound.
987
00:49:16,750 --> 00:49:21,833
And obviously, as the name suggests, I'm
going to choose one of these presets.
988
00:49:21,833 --> 00:49:24,416
There's a crunchy preset. 22nd.
989
00:49:24,416 --> 00:49:26,333
Which is pretty bad, right?
990
00:49:26,333 --> 00:49:27,958
Or is megaphone.
991
00:49:27,958 --> 00:49:30,791
21 of three. Okay.
992
00:49:30,791 --> 00:49:34,291
And then let's
go in and just do like a low
993
00:49:34,375 --> 00:49:37,083
lo fi radio
994
00:49:37,083 --> 00:49:37,750
commentary.
995
00:49:37,750 --> 00:49:39,416
I need to.
996
00:49:39,416 --> 00:49:42,333
Not only say you sound like a robot,
but she also sounds like she's coming
997
00:49:42,333 --> 00:49:46,458
from some sort of device like a speaker.
998
00:49:46,625 --> 00:49:49,500
So that's very useful. Yes.
999
00:49:49,500 --> 00:49:52,791
So a little media phenomena.
1000
00:49:52,875 --> 00:49:56,583
I So now how am I going to bounce this
into anything?
1001
00:49:56,583 --> 00:50:00,208
I'd like to actually bake this
into something I could take from here
1002
00:50:00,208 --> 00:50:03,125
into another timeline and then cut it up
and put it into position?
1003
00:50:03,125 --> 00:50:06,666
Well, if I wanted to do that,
instead of bouncing the clip,
1004
00:50:06,750 --> 00:50:09,041
some of these effects
have been actually applied to the tracks.
1005
00:50:09,041 --> 00:50:13,416
What I'll do is I'll bounce the mix
into this existing track right here.
1006
00:50:13,416 --> 00:50:16,291
So I'm going to go ahead
and make this track stereo
1007
00:50:16,291 --> 00:50:19,375
that I'm looking at right
here, change track type to stereo.
1008
00:50:19,541 --> 00:50:22,541
And that way
it will bounce to a stereo track
1009
00:50:22,708 --> 00:50:27,000
that the track I want to bounce into needs
to match the bus that I'm bouncing from
1010
00:50:27,083 --> 00:50:32,500
and I'll come up here to the timeline menu
bounce mix to track.
1011
00:50:32,583 --> 00:50:34,291
And what that will do
is it'll bounce the mix,
1012
00:50:34,291 --> 00:50:36,541
which at this moment
I have a soloed track,
1013
00:50:36,541 --> 00:50:39,625
so only what's soloed is
what's going to be bounced.
1014
00:50:39,625 --> 00:50:44,250
That's what I'm going to hear
and I'm going to bounce that to my stereo.
1015
00:50:44,250 --> 00:50:45,500
Main is the sound coming through.
1016
00:50:45,500 --> 00:50:48,500
My main is going to go to this bounce
mix of a four.
1017
00:50:48,625 --> 00:50:50,458
I'll click okay.
1018
00:50:50,458 --> 00:50:52,166
It just bounced it for me.
1019
00:50:52,166 --> 00:50:55,166
I now have a bounced version of what
I had just done up above.
1020
00:50:55,375 --> 00:50:58,666
And so if I were to listen to these back
and forth, they should sound identical.
1021
00:50:58,750 --> 00:51:00,583
Only to
1022
00:51:00,666 --> 00:51:02,541
yes, fill up.
1023
00:51:02,541 --> 00:51:04,625
Mader So
1024
00:51:04,625 --> 00:51:08,250
okay, so that's just how you can take
something from nothing and slowly
1025
00:51:08,250 --> 00:51:12,583
add a little bit of sound design here
and there to get yourself to something
1026
00:51:12,583 --> 00:51:13,500
completely different.
1027
00:51:13,500 --> 00:51:17,500
And of course the best part about that
is that you have
1028
00:51:17,541 --> 00:51:18,833
the ability to bounce it to.
1029
00:51:18,833 --> 00:51:22,375
I can then take it to another timeline
or work with this,
1030
00:51:22,375 --> 00:51:26,250
and I always like to name
my sound design experiments
1031
00:51:26,333 --> 00:51:28,166
so that I can go back in
and find them later
1032
00:51:28,166 --> 00:51:30,250
in case
I want to use it for another project.
1033
00:51:30,250 --> 00:51:34,625
I've already done some of the
experimentation and work at this point.
1034
00:51:34,708 --> 00:51:37,916
So next we're going to look
at some footsteps just so I can show you
1035
00:51:37,916 --> 00:51:42,333
some reverb and how we can add
a little more dimension to our sound.
1036
00:51:42,416 --> 00:51:46,666
So I'm going to go back into the media
pool, hide my effects library,
1037
00:51:46,750 --> 00:51:49,500
and I'm going to open up
1038
00:51:49,583 --> 00:51:52,333
this last timeline for our sound design.
1039
00:51:52,333 --> 00:52:01,708
And in this case,
I just have some Foley footsteps.
1040
00:52:01,791 --> 00:52:02,958
Nothing all that exciting,
1041
00:52:02,958 --> 00:52:06,000
but these footsteps
really don't tell us where they are.
1042
00:52:06,000 --> 00:52:10,541
And so one of the things that we need
to do is add either some echo, some delay,
1043
00:52:10,541 --> 00:52:14,750
or a reverb, something that will give us
the sense that we are in a room.
1044
00:52:14,833 --> 00:52:18,541
And so to do that,
what we can do is come up here
1045
00:52:18,625 --> 00:52:22,375
to our effects library
and just apply the effect and we're
1046
00:52:22,375 --> 00:52:26,875
going to go down and get our reverb
and I'll drop it right on the track.
1047
00:52:26,958 --> 00:52:27,500
Okay?
1048
00:52:27,500 --> 00:52:32,500
Once I've applied that reverb,
you can see that it actually shows a space
1049
00:52:32,541 --> 00:52:35,833
and it also shows our reverb
over here on the right.
1050
00:52:35,916 --> 00:52:38,666
And then you have all kinds of adjustments
that you can make to that.
1051
00:52:38,666 --> 00:52:48,458
Let's play this and see how it sounds.
1052
00:52:48,541 --> 00:52:51,000
So it's got a little
bit more of a sense of a space in here.
1053
00:52:51,000 --> 00:52:52,583
Now let's look at a couple
of the other presets.
1054
00:52:52,583 --> 00:52:56,916
If I come over here and try the bathroom
preset notice, it's a much smaller space.
1055
00:52:57,000 --> 00:53:00,500
Doesn't seem to have as much time,
meaning that the reverberations aren't
1056
00:53:00,500 --> 00:53:06,541
moving in a very large room.
1057
00:53:06,625 --> 00:53:07,958
Okay.
1058
00:53:07,958 --> 00:53:08,583
That's the bathroom.
1059
00:53:08,583 --> 00:53:11,958
Now let's try the cathedral and you'll
notice that all the settings change.
1060
00:53:11,958 --> 00:53:16,250
It's a much longer time,
you know, as those reverberations
1061
00:53:16,250 --> 00:53:19,583
are working their way out into the room,
much larger space
1062
00:53:19,583 --> 00:53:28,083
that we're dealing with.
1063
00:53:28,166 --> 00:53:31,958
So it just gives us that nice sense
of a much larger room.
1064
00:53:31,958 --> 00:53:33,750
Now that we have some other ones
we could choose from.
1065
00:53:33,750 --> 00:53:38,208
I'll try this
one, Studio two, for example.
1066
00:53:38,291 --> 00:53:38,583
So it's a
1067
00:53:38,583 --> 00:53:41,708
drier space, but at
least it still sounds like it's in a room.
1068
00:53:41,875 --> 00:53:45,291
So this is one of those things where
you can go in there and work with it.
1069
00:53:45,291 --> 00:53:49,708
And by just using some of these presets,
you can get a feel for
1070
00:53:49,791 --> 00:53:52,625
some of the different settings
on any of our plugins.
1071
00:53:52,625 --> 00:53:54,958
We have full descriptions
on how they work.
1072
00:53:54,958 --> 00:53:59,708
Every single knob in the Resolve guide,
which is available
1073
00:53:59,708 --> 00:54:02,708
under the help menu in case
right there in the reference manual.
1074
00:54:02,791 --> 00:54:06,333
So you can get in there and learn
more about every single button and knob.
1075
00:54:06,416 --> 00:54:11,000
One of the things that you can control
here is down at the bottom is addition
1076
00:54:11,000 --> 00:54:15,083
to having your dry, wet controls
of how much of that reverb supplied,
1077
00:54:15,291 --> 00:54:19,041
you also have your direct
early reflection and reverb.
1078
00:54:19,041 --> 00:54:23,250
And I'll just show you this really right
here, the direct, the early reflections
1079
00:54:23,250 --> 00:54:23,958
and your reverb.
1080
00:54:23,958 --> 00:54:24,791
And those are basically
1081
00:54:24,791 --> 00:54:28,708
the direct is the signal that's being
whatever's generating the signal itself.
1082
00:54:28,708 --> 00:54:33,791
So if it's a little alarm clock or
little monkey toy that's banging cymbals
1083
00:54:34,000 --> 00:54:38,250
in the middle of a parking garage, that is
the direct sound is coming from that.
1084
00:54:38,250 --> 00:54:41,500
The early reflections is how quickly
it reaches the listener.
1085
00:54:41,583 --> 00:54:45,333
So if you're really close to it,
then obviously the early reflections
1086
00:54:45,333 --> 00:54:46,375
come to you pretty quickly.
1087
00:54:46,375 --> 00:54:48,958
And that gives us a sense
of how close we are to it.
1088
00:54:48,958 --> 00:54:51,208
If it takes much longer for those
get to us,
1089
00:54:51,208 --> 00:54:53,666
then we know that the source is further
away.
1090
00:54:53,666 --> 00:54:56,541
It's all an illusion
on how our ears perceive these things.
1091
00:54:56,541 --> 00:54:57,750
And then of course, the reverb
1092
00:54:57,750 --> 00:55:01,666
is the reverberation of all the sounds
hitting all of the different space,
1093
00:55:01,666 --> 00:55:05,416
which gives us a sense of scale
and also then gets back to the listener.
1094
00:55:05,416 --> 00:55:07,041
So that's what makes it feel like
1095
00:55:07,041 --> 00:55:10,333
we're in a large room or a smaller room
and so on.
1096
00:55:10,416 --> 00:55:12,750
So we have all of the all three
of those different elements
1097
00:55:12,750 --> 00:55:16,041
that you can control right here,
and you'll see those in this graph.
1098
00:55:16,041 --> 00:55:21,541
Let me go back to Cathedral and you'll see
this is the direct is the white line
1099
00:55:21,625 --> 00:55:22,291
there.
1100
00:55:22,291 --> 00:55:26,250
We have our early reflections
and then we have the reverb itself.
1101
00:55:26,250 --> 00:55:28,916
And this is just
how much of that reverberation
1102
00:55:28,916 --> 00:55:31,000
so how bouncy is the surface?
1103
00:55:31,000 --> 00:55:34,416
And then, of course, the time on
how long it takes to get there.
1104
00:55:34,500 --> 00:55:37,708
So that is a really useful thing.
1105
00:55:37,708 --> 00:55:38,666
And as you can see,
1106
00:55:38,666 --> 00:55:40,208
but just looking at the different presets
1107
00:55:40,208 --> 00:55:43,541
will really help you get a feel
for how our reverb works.
1108
00:55:43,541 --> 00:55:46,125
So I'm just going to pick one of these
for now.
1109
00:55:46,125 --> 00:55:47,583
Let's go with the studio.
1110
00:55:47,583 --> 00:55:49,875
And then the last thing is
I mentioned Echo.
1111
00:55:49,875 --> 00:55:53,625
You can also show you if something is
on the other side of a barrier.
1112
00:55:53,833 --> 00:55:57,083
So let's say the sound is happening
on the other side of the door.
1113
00:55:57,166 --> 00:56:01,000
These are footsteps maybe on some stairs.
1114
00:56:01,083 --> 00:56:01,458
You just could
1115
00:56:01,458 --> 00:56:05,708
turn those up a little bit.
1116
00:56:05,750 --> 00:56:07,583
So this may be someone coming down
1117
00:56:07,583 --> 00:56:10,708
a hallway or on the other side of a wall
and we hear them coming.
1118
00:56:10,708 --> 00:56:13,000
Well, that's
going to change our perception of that
1119
00:56:13,000 --> 00:56:16,916
because you open up my echo
when it comes to the frequencies.
1120
00:56:16,916 --> 00:56:21,416
The higher the frequency, the smaller or
the closer together those waveforms are.
1121
00:56:21,416 --> 00:56:22,875
They don't have nearly as much power
1122
00:56:22,875 --> 00:56:26,916
as those lower frequencies
which have massive waves.
1123
00:56:26,916 --> 00:56:28,958
And this actually can penetrate
through walls.
1124
00:56:28,958 --> 00:56:31,541
And so we tend to hear
those low frequencies
1125
00:56:31,541 --> 00:56:34,333
because they can go right through the wall
and turn the wall into an amplifier
1126
00:56:34,333 --> 00:56:36,125
in order to come out the other side,
1127
00:56:36,125 --> 00:56:39,125
whereas the high frequency is just going
to bounce around and disappear.
1128
00:56:39,166 --> 00:56:42,166
And so to make it sound like something's
on the other side of a wall,
1129
00:56:42,250 --> 00:56:46,250
all you need to do is just shave off
some of that high end until you achieve
1130
00:56:46,250 --> 00:56:47,125
what you're trying to do.
1131
00:56:47,125 --> 00:56:52,000
So, for example, whether it's glass
or concrete or someone downstairs,
1132
00:56:52,083 --> 00:56:55,375
just start your playback
and you start band six
1133
00:56:55,375 --> 00:56:58,958
and just start shaving that back,
I'll crank up my gain
1134
00:56:59,041 --> 00:57:02,416
to make it a louder for you
so you can hear it while I do this.
1135
00:57:02,500 --> 00:57:13,708
Let's pull that band six.
1136
00:57:13,791 --> 00:57:20,083
As you can see now, it
sounds like they're on the other side of,
1137
00:57:20,166 --> 00:57:21,791
you know, somewhere else, basically.
1138
00:57:21,791 --> 00:57:24,833
And I could even change my reverb
if I wanted to.
1139
00:57:24,875 --> 00:57:35,208
Let's make it a bigger
sound, like cathedral.
1140
00:57:35,291 --> 00:57:37,708
Now they're coming up a stairwell
or something,
1141
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but way on the other side of a wall.
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00:57:43,791 --> 00:57:45,041
So that was working with
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some of the sound design tools
for doing your sound effects.
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00:57:48,208 --> 00:57:51,291
So it's just a matter of knowing
which tools that you want to wield
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00:57:51,458 --> 00:57:55,208
in order to craft the sound
to get what you're looking for.
104144
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