All language subtitles for 4-DaVinci-Resolve-17-Fairlight-RecordingVOandADR

Hi, I'm

Mary, and I'm
going to show you the voice over recording

and ADR tool set in the Fairlight page
of DaVinci Resolve 17.

Let's get started.

Here's my project
that we're going to work on,

and this is a continuation of the hyper
light project.

As you can see, we have a dialog track
on the top and just some drone sounds.

For now.

What we're going to start with
is creating a new track.

And so I'm just going to right
click in here and create a new track.

So go down to add tracks.

Once the add tracks
dialog comes up, I'm able to choose

where I like to place the track
and I'd like it to be just a mono track

click, add tracks, and there it is.

I've created a new track
where I can put my recording.

When I'm ready,
I'm even going to call this Ada Scratch Vo

so it'll just be a scratch voice over
that.

I'll be recording.

Now. One of the things
that we'll need to do

is we're going to be replacing the sound
that's already in there.

These light green clips were the ones
that were recorded on the set,

and if I play through those, you'll hear

that's just the voice
that will be replacing.

Identify the person in front of me and
you didn't see that across, are you sure?

But so as you can hear,
those are just a voice

that was recorded for timing that
they could use when they were on the set.

And now we're going to replace that
with a new voice over recording.

Now, I could record directly
in the timeline

right here,
or I could even record in a separate track

or in a separate timeline
and just wherever I'd like to go.

And so in this case, well recorded, right,

in this particular timeline,
and we're going to use a title to do that.

So that's one of the advantages of DaVinci
Resolve is because it's also a

has a full non-linear
editor built in on the edit page.

You can actually create titles that you
can use for props or for reading out text.

And in this case, it's
just going to be a simple text title.

And in order to see that, I'm
just going to go over here up to the View

Options menu.

And if I turn on my View options menu,
you'll see the very first option

in the top left
is to show my video tracks.

As soon as I do
that, you'll see there is my title

and if I selected that piece of text
and I can enable it the same way

as I can enable or disable clip
by just pressing D.

And now if you look up in the viewer,
you will see there is my text.

In fact, if I go to full screen mode,
I just pressing p you'll see that

now I can actually see the text right over
top of the video

and I can use that to record
and just as a prompt.

So that's awesome.

The next thing I need to do

though is I want to mute
just the voiceover

that I'm not using what I'm going
to be replacing that throwaway voice.

And so to do that, I'm going to zoom
in a little bit first into the timeline.

Remember that any time you want to zoom
horizontally, you want to

use, it's going to be based around
where your play head is.

So move my play head over that first clip.

If I select the clip,
then I just press D for disable

and that's going to mute that clip
within the track.

And I can select the next group
of those by command.

Selecting them on a mac,
it'd be control, selecting them on a p, c,

and if I press D,
that will disable those as well.

I'm going to move down to this last click
to clips,

this one and the one on the end
and then press D and disable

those as well so you can re-enable them
any time by just pressing D.

And as you can see, that works
with both audio to mute or enable it.

And also with the text

I can make that show or hide
by just pressing D, which is great.

And so now that I've got that set up,

I can actually now
want to patch this track for recording.

So there's a couple of things
that you need to be aware

of whenever you want to record.

And first you need to connect
some sort of microphone.

In this case, I'm

just using a simple USB
microphone plugged right into my computer.

And then the other thing is
you need to arm the track.

So you connected, you patch it
to make sure that DaVinci Resolve is

recognizing that microphone and you assign
which track it goes to and then arm it.

So I'll show you that right now.

First thing is I should probably check
my system preferences

and make sure that the microphone
is indeed showing on my system.

So I'm going to go up to my system
preferences right here

and go down to the sound preferences.

Right.

There's my input and it shows that
this particular microphone,

my USB mic is what is connected right now
as the input on my system.

That's all I need to know.

I can close this up and as long as it's
being seen by my system,

we should also see it
within DaVinci Resolve.

So in order to patch to a track,
I'm just going to select the track

that I'd like to patch to.

And you notice
any time you select a track,

it also selects in the mixer,
which makes it very easy

to see which track
you're working with at any given time.

I'm going to expand my mixer just
a little bit so I can see that better.

And then let's look
at the top of the mixer

and you'll see
at the top of each channel strip

and you'll see the track number
and you'll see a section that says input.

And this is where you're able
to open up the patch input output

so that you can actually assign
which tracks you want to go to.

So I'm just going to click this where
it says no input and this gives me a menu

and where I choose
if I choose input from the menu,

what that's going to give me is my patch
input output, as you can see right here

automatically,
because I did that from within the mixer.

The tracks that I'm trying to patch to
is automatically highlighted

to make it even easier
for me to patch that track.

So what I'm going to do is

I want to record this microphone,
which happens to be a stereo microphone.

I only need one channel, so
I'm just going to choose that left channel

and I'm going to assign it to this mono
track.

As you can see,
both of them are highlighted,

so I can see that they

are the ones that I have selected

and then I'll just come down here
and click Patch.

And once I do that, it will show me that
I've patched this microphone

to that track and vice versa.

So your source and your destination is all
you need to set up.

And I'm ready to record when you do record
directly into the timeline like

we're about to do, it's going to start
wherever your play had happens to be.

So in this case, I could start
right about here if I wanted to,

or I could start at the beginning
of the timeline.

In this case,

I want to start where the text is
so I can actually use that as a guide,

and then I can just record
all of the lines straight through.

The last step, though, is
I also have to arm the track and in order

to arm the track, you just go to this arm
for record button right here.

And as you can see,
that's on your track header.

That's this button right here.

The R is for record
or for arming it to in order to record.

And if I just click on that automatically,
it's now armed.

And you can see the microphone level
is now coming into this particular track.

Okay.

And any time I could then solo it,
if I only want to hear that track

while I'm recording,
or I could mute it as well.

In this case, I'll solo it
so I don't hear any of those other tracks.

While I'm recording this section,

I'm going
to go ahead and move out of Zoom.

And then the other thing
that you might want to pay

attention to is your monitoring
when you're recording as well.

And so let me just mute this for a second
and I'm going to come up.

Have you come up to the Fairlight menu?

And in the Fairlight menu, you're going
to see the input monitoring style

and what the input monitoring style does
is that just chooses how

you're going to be able

to hear the monitoring of whatever you're
recording once you have things set up.

So at the moment it's set to auto,
which means it will automatically try

to play it back for you at whatever stage
you are in your recording.

But if you look, there's
also two other choices here.

There's input, record and repro.

And so what those are is it's like
having three heads, like in an old older

tape to tape recording
or something like that where you would

actually have multiple heads
that you could monitor at any time.

The first one is inputs.

So that's actually the signal coming in.

The record is going to be recording
as it's actually being recorded

at that moment, you'll be able to hear
that moment of of recording.

And then the last one

repro is what you're listening to is once
it's playing back the actual recording,

all of these are happening
right next to each other in line.

But that way you can hear the finished
recording in repro or record

as it's happening. Input is the input.

Now by selecting auto, it's basically
going to let you hear it along the way.

Always.

Okay, now if you hit mute, that just means
you're not going to hear anything.

And that might be more useful
if you have a live microphone

and you just don't want to hear it,

don't want to be monitoring it,
then you can mute that.

So I'm going to leave this set to auto.

And again, that's in the Fairlight menu

and the Fairlight menus,
where you're going to find many things

that are very specific for working
with audio or the Fairlight page.

So now that I have this set up,
I'm going to actually do a recording,

and when I do, you'll see the recording
appear right here in this track.

One of the things I might want to do
is make this

script that I'm using a little bit larger,
so I'm just going to select that,

bring it here so it's right in front of me
so I can actually read it very easily.

And I could even make this larger
if I wanted to, to really see that script.

I could even use scrolling text
if I wanted to,

to make it more like a teleprompter.

But in this case, it's not that much text.

So first thing I'll do
is I'm going to back this up

a little bit and I can just record.

I'm not worried about the timing
for where it fits in the timeline.

I just want to record this right in.

And in fact, I could hide my other tracks
so I don't have to see anything

except for the tracks
that I'm actually recording.

But I'll do this first one without hiding
the other tracks, so let's try it.

When I am ready to record, I just move
this a little bit out of the way.

I will need to press this record button
right here at the top.

As you can see. That's right.

In my transport controls.

Or I could assign a shortcut
for a recording if I'd like to do that.

In this case, I'll just hit record
and read through the script one time.

Amelie on a new tune.

Yes, Philip made her.

Philip made her.

I cannot explain this discrepancy.

Birth date is March 22nd, 2103

and then I can just press the spacebar
to stop recording.

And as you can see, there's my first
recording in the timeline ready to go.

I'm actually going to change
color of this clip and go ahead

and give it a color just randomly
all make it, let's say yellow.

And that way I can see it in the timeline.

I can even zoom in a little bit if I like.

And once it's been recorded to time
like and also raise

the volume level as needed
if I like as well.

So if we wanted to hear this back,

I'll disarm
that track for a second and play

Amelie on a new tune.

Yes. Philip Maida
And as you can see, the recording worked.

It wasn't great, but it definitely worked.

So let's do another take.

And when you want to record additional
takes,

they record
directly on top of the original.

So it's not going to cover anything up.

It's just going to be recorded
as a new layer in the same track.

Now, for this one,
I'm going to hide the other tracks

just to show you
that that's another option that we have.

And so I will come up here to the index

and right here in the tracks index,
I can hide any tracks I don't want to see.

So I'll hide my drone
and I'll also hide the upper dialog.

And in fact, if I wanted to,
I can even hide the video track

If I don't want to see that in this case,

it doesn't bother me having that video
track up there, so I'll leave that part.

So there you go.

I am now only going to see where
I'm recording.

I can hide my index again,

and so let's just record another take
right on top of the one we had.

And I will just
everything else will be exactly the same.

Let's just record that.

So I come over it, record

Amelie on a new tune.

Yes. Philip. Maria.

Philip maria.

I cannot explain this discrepancy.

Birth date is March 22nd, 2103.

Yeah, and there's my second take.

And as you can see,

sitting right on top of the other one

and I'm going to go ahead
and give that a color as well.

I'll make this one orange just
to give them a little bit of difference.

Now I'm going to record one last piece.

We're just going to record, rerecord
this middle section where

in the script it says, I cannot explain
this discrepancy.

I'd like to do that

as a contraction just because that way
the director has a choice.

If he decides to humanize her
a little bit more by letting her

talk in contractions
instead of just very stiff computer speak.

So I will do
one more take of just that section.

And all I have to do to make that happen
is move my play head to the area

where I want to record
that I'll hit record and let's go for it.

I cannot explain this discrepancy.

So that was
I cannot explain this discrepancy

wasn't exactly what I was going for.

So I'm going to undo that
and let's do it again.

This time with the contraction.

Oh, hit record.

I can't explain this discrepancy.

Here we go.

And so now I've recorded
all of those different takes.

I may give this one a color of its own.

Let's make that apricot and again,
whenever I want to color clips

or color tracks, remember that right
click on your three button mouse is how

you can access those type of features
that are just in those contextual menus.

So now I have this set up.
Let's see what it looks like.

I'm going to disarm the track
and let's see what it looks like.

If I were to see all of the different
track layers at the same time.

So I go up to The View menu and show

audio track layers,
which is at the bottom of that view menu.

And once I show those,
you'll see there's my different takes.

All sitting on top of each other,
ready to go, and I can listen to them.

I can choose
which one I want to work with,

and or I could just leave them
just like this if that's what I choose.

So I'm going to go ahead and hide this
audio track layers.

We'll talk more about them later.

And instead, what I want to do
is I'm going to do another type of a

take for this,
and we're going to do this one more time

only instead of just recording
right into my main timeline this time,

what I'd like to do is let's record
into our own a different timeline

and we'll actually use the text as the
prompt to set up the entire timeline.

I'll just show you how that works.

So in case you have a piece of text

and you want to record your voiceover
outside of your timeline,

it's super easy to do.

Plus, to make this a little bit more
interesting, we're also going to record

the two different channels from this
microphone to two different tracks

so we can set them to different levels
and then we will just have a safety

take which will be slightly lower
in case the levels get too loud.

So first thing I want to do
is I'm going to go over to the media pool.

Now, something to keep in mind.

If you've ever been changing

around your interface and you want to
put it all back to the default,

all you need to do
is go to the workspace menu

and choose reset UI layout.

And as soon as you do that,

it will automatically hide
any extra panels or reset everything.

It will put the viewer back,

make sure everything will go back
to the default layout, and then I can just

come over here to my media pool
and pick up where I left off.

In this case, notice that everything is in
icon view, which is fine.

I can change it to list view

if I'd like to any time
by just clicking these buttons right here.

So we have icon view or list view.

If I just clicking those buttons,

what we're going to do

is we're going to come over here
to this title for prompt

and the title for prompt is just a title,
but you notice

it's not showing right now,
even though I know it's in there because

I reset my layout and by default

you're only going to see here in the media
pool clips that have audio.

And of course this is a piece of text.

So although it's showing up here

in my preview player,
I can't see it down here in the list.

And to see it, I need to make one change.

And what that change is going to be

is right here
in this three dot menu or options menu.

Anytime you see three

dots on it on the side of a panel,
that means there are more options.

And in this case, if I click on that,
I want to show all clips.

So if I set it to show all clips

and then click that notice, now that clip
is showing, even I could already see it.

There it is.

And if I select it now,
I have something I can actually work with.

Media.

Now, of course,
this media was created in the edit page.

Now I'm going to go and make a timeline
from the title by just right clicking

and you notice the first option
that you can see there is create

new timeline using selected clips.

So I'm going to use that option.

And just like that and notice
here, it's going to give me a timeline.

I'll call this

video with safety.

Safety
meaning a different additional track.

Now for this one, I actually want to have
two different tracks.

I'd like both of them to be mono,

so I could have set that up
when I first made the timeline.

Or I could just do that right now.

So the track that I have right now,
as you can see, this has two channels.

You can tell there's two channels
because it shows me at the top.

And also you could see the two different
lanes in there that show you that

it's got a left and right channel in it.

I'm going to right click and choose
change this track type to mono.

And by doing that, I can change the track
configuration from stereo to mono.

And it's just a right click away.

So I'll go ahead and make this model.

As you can see,
I have a single mono track now and I'm

going to right click and add
one more track mono and there it is.

I now have both of those tracks
ready to go.

Both are mono and I can make them the
same height if I wanted to.

Let's name them, just double click
the top one.

And this will be unity.

Unity.

VOICEOVER Meaning I'm
not going to change the levels.

And the second one that I'm going to use
will be with safety.

So, you know, with safety.

And basically it just means I'm recorded
at a slightly lower level

than the first, just in case
we need to have that as a backup.

Now, how do I patch it?

I have one mic
going to two different tracks.

I can do that easily
because this has two channels.

It's a stereo microphone.

If I had two different mikes

coming in through an audio device
or ten mics coming into an audio device,

I can separate each one easily
using this technique to get them to

different tracks for input.

So what we'll do is this time
we'll just go up

to the Fairlight menu and choose

up here.

The patch input output.

This is where you're able to set up your
patching right from in the Fairlight page.

And once again we have only two tracks
in the entire timeline.

So that makes it easy.

So let's take Channel one
and patch it to my unity.

VOICEOVER Track Patch and

Channel two is going to go to the video
with Safety and Patch and there we go.

So we've now set those up
so that they're coming in here.

Notice I had my script at the top
is showing my prompt

automatically because we use that
to actually make the timeline.

So I've got this set up now.

How do I actually make the volume
level lower on the A two track?

And to do that, I'm
selecting a track as well.

Come over here to the mixer
and this is going to be another option

that we will be opening up here.

Let me just zoom in and if you notice, it
shows that the input is my microphone.

And then if I select that
for the two track,

one of the things that I can bring up
is the path settings.

And what the path settings does is
it will give you this alternate window,

which I'll just show you right here,

and this window will show you

recording input information for whichever
track is selected.

Right now it says Path settings
for the voiceover with safety.

If I select the other track now,

it's showing me the settings
for that particular track, my unity track.

So I'll go back to this one
and this is the track where I want to just

lower my recording level by, let's say,
ten decibels just for this example.

So all I have to do is lower that
recording level, as you can see

right there to minus ten.

And I've got that all set.

Now you'll notice while I'm
in this path settings that you can choose

to arm it for recording right now
by just clicking that arm button

so I can toggle on and off arming right
now, as you can see.

So I'll go and arm this track
and the second track, alarm it here

and that's it.

So now I'll be able to record
to the two different inputs.

I'm going to just go to the beginning.

I have my text prompt now.

I'd like to make this a little bit larger,
so I'm going to pop this out, hide

my meters, just make it a little easier
for me to see.

All right.

And we'll just read through this one
one time

so that you can see how I can record
with the two different levels.

So let me just make sure I'm
going to double check the settings

to make sure that the safety settings
were the ones that I lowered and they are.

And let's just run through the script.

Once I'm going to hit record.

Amelie on a new tune.

Yes. Phillip.

Maida.

Phillip, Maida.

I cannot explain this discrepancy.

The city is currently 9543454.

And there's my recording

and as you can see,
let me go ahead and disarm those tracks

and you can see very clearly zoom
in a little bit

that the levels, recording levels
are different on the two tracks.

The lower track was indeed
ten decibels lower.

And so that's the way
that you can record it

two different levels or multiple sources
coming into your tracks.

So that's it for this voiceover section.

Now what I'd like to do is show you
how our ADR tools work.

We have an entire ADR tool set right here
built into Da Vinci resolve.

Now, if you're not familiar with ADR,
that means automatic dialog replacement,

and that's for replacing specific dialog,
whether it's

for dubbing for another language
or if it's actual dialog replacement

by the same actors who have to report form

their voices on screen
because it was too noisy.

That's what it's used for.

And the ADR tool set
is also great for fully sound effects.

If you want to record specific sound
effects in sync in timing with the video.

So in order to show this,
I'll go ahead and put my viewer

back is we're going to come over
to the ADR toolset.

It's right here. And I can bring that up.

But first, actually, I need to show
open up a different timeline.

So I'm going to go over to the time lines
and come down and open up my ADR

starting timeline
and I'll start my ADR session.

And so this is the timeline
that we'll be working with for ADR.

Before I actually go into that
any further, though,

I wanted to point out
that whenever you record

your recordings are going to your capture
location on your system

wherever you have it
set up for in preferences to capture,

that's where it's going to go.

And in this case, it's
also going to record when you're working,

resolve into whatever bin
you happen to have selected.

So for doing our ADR recordings, I'm
going to create a new bin and select it

before we start.

And that way all the recordings
will be right there in that bin within

and it'll be a little bit neater
and more organized and easier to find.

So let's go over here.

So I'm going to right click
and just create a new bin.

There's my new bin
and I'm going to call this

ADR session one.

I can label it or color it or leave it
as is.

In this case, I'll

go ahead and color it blue
and you'll see that that will be blue.

The bin will be blue.

So we can actually see that really easily
if I want to grab that at some point.

So this is the bin
I'm going to be recording my session into.

I don't need to look at this anymore.

We can go ahead and come
right up to our ADR tools.

Now, keep in mind,
if you don't make a separate bin

for your recordings,
they'll still be in the media pool.

They'll just be in whichever bin
you happen to have selected at that time.

Now, with for our ADR session,
let me go ahead

and bring up my meter
so you can see the video.

The idea is that
we may need to replace the dialog.

Let's say it was recorded on the boat
or near traffic or on an airport tarmac

or wherever it was.

It was really noisy

that that original dialog recorded on
the set is completely unusable

other than to sync and maybe cut together
the scene for timing.

But now the actors have to come back in
and re perform it.

So one of the first thing you have to do
is actually set up your system

for ADR recording and then you can start
making a list of your different cues.

So where you do your setup is right here
on the setup panel.

As you can see across the top in your ADR
tool set, you will see that

there's this is where you create
your list is where you can record.

And of course,
this is my setup right here.

And so what we're going to do
is we're going to start here and set up

again the ADR tool set.

I can turn it on and off any time
by just clicking ADR in the toolbar.

And so first thing I need to set up is
I need to decide

how many seconds of pre-roll
I need now, pre-roll

is how far back the play head goes
before it actually begins recording.

And so pre-roll is also
when you can set up your timing.

So for example,
if you want to count in for your talent

so that they will have a chance
to get ready to record,

then you might want at least five
or 6 seconds

so that there's time for them
to get a count in and then go.

Very few people
can actually start immediately in sync,

right when the play head starts recording.

And so we'll come up here to the pre-roll
and I'll just set it to 6 seconds

and then the post roll.
I can leave it 2 seconds.

That means it will roll 2 seconds
after the recording.

Now, one of the things I need to do is

I also have to choose
which track I want to record to. Now.

I usually have a track selected.

In this case, I already created
an ADR track, so I like to do.

I don't even have to select it.

I just have to know which track
I want to go to.

Again, for this example,
we'll be recording onto this track.

So I need to just choose that
from the record track.

Watch what's going to happen to the record
source as soon as I choose a track.

So I'm going to choose the ADR track
and as soon as I do, it's

going to allow me to automatically choose
what my record source is.

And when I do that, it will automatically
arm that source as well.

So let me come over here.

I'm going to choose Channel
one for my blue Snowball,

and as soon as I do
that, check out over here.

This automatically armed the minute
that I chose which source that I wanted

to, all the patching is done automatically
when you're working with ADR.

Okay, so now that I've set that up, I'm
going to go ahead and take note of that.

I'm also going to mute this track
or disarm it right now,

I just don't have to hear any mic feedback
right now for this tutorial.

So I've

got the record source,
I have the record track,

and if I need a guide track,
if there's one particular track

I want to hear over the other tracks,
then I would choose a guide track.

In this case, I'm going to start
probably recording with a million or so.

I may choose that as my guide track.

Let's come down here to our character
set up.

There's Etta and then there's a million.

And so what I'm going to do
is we need to add another character,

add new and let's choose fill up.

And that way all three
characters in my show are now listed here

as come down to the fun stuff,
because on this lower section,

this is where you can choose
all of your audio and video cues.

And so you can have streamers
and count ins and and the text

and everything will be right on screen
so that the talent will have that.

And all of this is built
right into DaVinci resolve

without any additional plug ins
or anything else.

It just works right away.

So right here at the bottom,

you'll see the first choice I have
is to beep to the endpoint.

That means there will be a series of beeps
up until the point where the endpoint,

the beginning of my recording cue
and then it will start beeping.

So we've got that.

We have something,
the next one down is beep at the endpoint

and that means that's go
the endpoint is when the actor is cued,

they have to start talking
or should start talking.

And so it's important to have both.

And so the beep to the endpoint is like
you're 3 to 1

and the beep at the endpoint is your go.

Now let's look at the countdown.

That's another one that we have right
here. There's our count in.

And what we could do with the counting
is that's basically going to tell me how,

how much of a count in the talent
actually needs any of these settings.

You can double click
and actually get more information.

And as you can see by double clicking
this, it shows count from,

in this case, 3 to 0.

So it's going to give me a 3 to 1
and then go right.

The goal will not be a number.

And the one thing to keep in
mind is all talent is different, right?

Some people need a longer counting
than, you know, make your pre roll

a little longer and set up a longer count.

And in this case, three is fine.

So we'll just leave it set to three.

I'm going to

go and hide that and let's go down
and turn on our video streamer.

This is going to be something
that's going to give us visuals.

So we know three, two, one, and then go,

you'll see a flash four go,
That's our video streamer.

And then we also have right
here, let's go down,

we have our on screen cue tech style.

So pull out for a second
so we can see that.

And you notice
this is where you can choose

what font you're going to be working with
and how heavy that font is going to be

and also the size.

And for this example, I'm going to go
and make this a little bit larger.

So we'll really see it.

I'll go to like 50 point

somewhere in that ballpark.

And just to make it a little bit larger
on screen, once we start making cues,

I can hide that again by just double
clicking on it.

Now, the last one Smart timeline
will allow you if I double click it,

you'll see it will have either a moving
or a fixed play head

and it also will auto zoom
to the timecode area

where your queue is
as you go and also to the tracks.

So you'll always be seeing

whatever it is you're recording on screen,
which is helpful.

So I'll leave that turned on.

And then at the bottom
we also have mixing controls.

If you are recording
in a studio environment

where you have to use talkback
and you need to set up different

guide track levels and things like that,
this is where you would be able

to make those changes.

But turn off my

mixing controls for now
and I think I have this all set.

So the next thing we're going to do
is go over to the list.

And on the list panel, this is where
you actually set up your list.

Okay? This is where you figure out
where the queue is.

And all you need to do is mark in and out
points and type in what the queue is.

Choose the character and you're all set.

And so I'm right here.
I've clicked on list.

I might play here it is on the first queue
that I'm going to use, which happens

to be this line of dialog located
between these two pink markers.

So if I wanted to solo that track to only
hear that for a moment and play it.

Identify the person on the MATLAB.

Okay, this is a million is saying identify
the person on the MATLAB.

There's nothing wrong with this record,
but I am going to use this

as the example for this exercise.

And so one of the things
I could do to set up this queue is

I could just mark an in and out point
any time I wanted to.

By the way,
you don't have to sell your tracks either

because I could set an endpoint

a little bit away from that clip
to give it a little bit more room.

Or I could set it right on the edges
of that clip, and that's entirely up to

how I want to set up my queues
in this case.

I'll use the shift up and down
to move from marker to marker,

and that will easily make it really easy
for me to get to the marker

and then just press I to mark an endpoint
shift down, arrow and mark out.

So I'm using markers for this one
to set this queue.

If I want to zoom in a little bit more,
I could just so I could see this

a little bit better and this is the one
that I'm going to record first,

I want to just play from the
into the output point that's option

and the forward slash directly
above it or alt forward slash.

And just remember

the slash is the one directly
above alt or option on your keyboard.

Identify the person on the MATLAB.

Okay, so now I know what the queue is.

So if you notice by setting my in and out
points, I can now come over

to the controls and just click the button
that says new queue.

And as soon as I do
that, it's automatically added the queue.

Right here is the queue number one,
and that gives me the time

code and I can choose the character
which is a millionaire.

There it is.

Now, the last thing, of course is
I need to put the dialog line in there

so I'll just select
up in this box and type,

identify the

person on the mid lab and go.

And so that first queue is done. Okay?

And so at any time, if I want to work
with that, it's ready to go.

Now I'm going to do one more queue.

So I'm just going to clear these
in and out points.

Now keep in mind

I'm clearing them to demonstrate
how to clear the in and out points,

but you can also just set new in and out
points in the ones you have just go away.

So it's not

pertinent that you have to clear in
and out points in order to make new ones.

How do I clear those in and out points?

The shortcut would be option
X will clear those and those shortcuts

to mark an end to remove in and out
point is in the mark menu.

And here there's clear in, clear out.

And of course,

mark the clip right now
for the second queue.

I'm going to come over here
to the second queue.

We're going to do Phillips queue,

which is on this line
between these two yellow markers.

And this time
I'm going to zoom in a little bit

instead of using in and out points to mark
this, I'm going to use my range tool,

so I'm going to just come up
instead of my Arrow tool,

which as you can see,
there's the selection arrow.

Instead, I'm going to come over here
to the range tool are for range

and by selecting the range tool,
I can just click on this clip

and it will automatically select it
and mark that range,

which is the part I really wanted.

I just wanted it to mark that for me.

So the clip, I don't need the markers,
I can just click that

and it automatically set it.

Then I'll put a
and go back to my arrow tool.

And that way
I only use range to make a selection.

If I want to listen to it,
I'll just option for you.

How's that possible?

Ada How's that possible?

ADA How is that possible?

So that's going to be my next Q
And so I'll just come over here and choose

new. Q It will take those in and out
points for me, and instead of a million,

I'll change it to fill up
and I'll type in the text.

ADA How is that possible?

Okay.

And there so I've now
set up my two different queues.

Now obviously I could go down here
really easily

and Mark used for the entire scene.

You can also have someone else
make the queues,

an assistant or even you can do it
on another system as long as it has

DaVinci resolve and then you can export it
and just bring it into here.

So it's very useful.

Someone could be on a laptop going through
making all the queues, even on the set

or wherever they happen to be
in the dialog editing suite.

They could be making the queues,
setting it all up and then

you can come in to your recording studio
to actually make the recordings.

Just import that queue list,
so I'll show you how to do a recording.

So now that

I've set this
up, I can clear those in and out points.

Again, I'll just hit option
X to clear those and let's just record

the first queue to show you how that works
or practice it and then record it.

So I'm going to come up here

instead of looking at the list,
we're going to go over to record.

What you're going to see
is some different options based on

what's in your to do list.

So I'm going to select the first queue
and as soon as I do this,

all of these different controls
come to life.

The first one is my rehearsal.

This allow me to rehearse my cue.

I can playback cues

that have already been recorded
and here is my actual record button.

Okay.

And so for starters, what I want to do
is just rehearse one of these.

And to make this more interesting,
I'll rehearse this one with full screen

so that you can actually see it
and see the text at the same time.

So I'll just go into full screen mode.

I'm going to press P
or you could do can command F There it is.

That's what I'm going to use. But first
I'll click the button to rehearse.

Let me go.

Eight identify the person
I'm speaking with.

So it made up.

Identify the person on the middle.

And as you can see, I got my cues.

I was able to see the text very easily

and that's what we had just set up
when we were doing the setup page.

And there you can see
everything in action, including the beeps

where you could hear the 3 to 1 and go,
So I'm going to actually record one.

Let's try it.

I'll just come over here
and click the record button.

You'll see
it actually happened on the set.

I'm going to make this a little bit
bigger.

Don't need my meters, just change my real
estate a little and let's try this one.

So I'm going to go ahead and click record.

Eight, identify the person

I'm speaking with made up,

identify the person on the MATLAB.

Filigree. Okay.

And in theory it just recorded that take
and I can see it right there

in my timeline.

Now, you notice that I was a little late.

Hey, this isn't what I normally do.

So I was a little bit off on my timing
and notice that it kind of cut off

because I didn't run and didn't have
enough time, didn't finish that recording.

And so in cases like that,

we have things built in to be able
to work around your cues.

In this case, there's a button right there
on the record panel that says,

Keep recording.

If I turn that on, that means it will
record beyond the end of the queue.

In case you're like me
and don't quite hit your mark.

And then what will happen is it

will just record a little bit more
until I press the spacebar to stop.

So let's do another take
just so you can see that in action.

I'll come over here and click record.

Eight, identify the person I'm
speaking with.

It made up.

A different type of person that fill it.

And as you can see,

I have this set up and I can now extend
this and I actually got it right now.

It may not be in sync.

And in fact,
if I look at these two takes the original

and if I look at the one I recorded,
you can see that I was off a bit.

But I can also just go over there

and move it right and try to move that
into position at any time.

So I do have that option.

Now. One of the things that we can do,
I can also trim it, by the way,

if I need to, is
as long as I'm in a recording session,

which I'm doing right now,
I've done two whole takes

is I have the ability to come over my list
and look at those different takes

and listen to those takes,
even though they're in different layers.

So for example, right now
you can see that there's two I'm going

to show my audio track layers
under The View menu so you can see those.

And when you see the the layers,
you can notice

there's my two different takes
right there in layers that I can see.

I can have ten takes or 20 takes
within the same track.

If I wanted to, all of them would show up
as a layer within that track.

And if I want to play it,

let's say I want to go back and preview
one of these.

Take one, for example.

If I press play, watch, watch
what happens, it will actually hide

the other take

and only let me see that one
so I can tell which one I'm working with.

I'll just go ahead and show you

it. Identify

the person I'm speaking with, select
made up.

And for this I'm going to put this back
so you can see it better.

And I also think I will

fix my play head.

And by fixing to play it,
it will scroll underneath it,

which should make it a little bit easier
for you to see.

Let's do that.

We go
and let's just play that one through.

Eight, identify
the person I'm speaking with.

So it made up,

identify the person on there.

And as you can see, it hit
that as long as I was doing my preview.

Now let me try the other one
I want to see take to watch that take.

One will disappear when I do that.

So I'm also going to do this
one more time to man a little bit.

So you'll see it
and you'll watch. One will disappear.

Watching

it identify the person

I'm speaking with made up,

identify the person on the middle.

Just showing it will recognize those.

I can even start stardom.

I can say, Well, this one was better.

I can give it maybe a two star
and this one gets no stars,

but you get the general idea
on how that all works.

You can then see and hear
all of those different elements

that we were working with
in the timeline that we hide.

My audio track layers under the View menu.

There we go.

And of course, those are my different
takes.

Okay, So it's very easy to work
with our ADR tools.

In fact, I'm going to show you I'm going
to bring in an entire list for you.

One of the thing I want to point out to
is that you heard those beeps in order

for us to hear

this speech just had to be actually set up
and patched, which also show you.

But first,
let me show you how to bring in a list.

So I'm going to come up here to the three
dot menu right there at the top.

That's our options menu.

And if you look in that options menu,
if I click on it,

one of my choices is going to be import
queue list.

So you can see import coolest
or you can export the colors.

So if I was on a laptop
and I just created all those queues,

I just export it
and it's going to come out as a CSV file

comma, separated variable file
that you can use on

any spreadsheet program
and then bring it in.

Okay.

So we're going to import a queue list

and it's just going to go to my desktop
and find

the media.

There it is.

And here's the file that we're going
to be working with this ATR text file.

I select it quick open
and there is the list.

And if you notice inside of this

window right

here for my setup before
I actually import it in, it's going to

give me the option to make sure
that my columns are actually correct.

So in case you have an assistant
or someone making your

variables and setting it up,
or you have someone

creating all your queues
and they give them to you

in the wrong order and the output is
what where character is and so on.

You can swap those around right here.

I'm going to click import CSV
and there it is.

This just populated with the entire text
for the scene in seconds, right?

And so once I've done that,
my old recording session is gone

and now I have all of these cues
ready to go.

So very easy to work with.

I could go to list and you can see there's
all those cues that I just brought in.

And to make your recording even easier,
you can come up here and sort by cues.

So if you happen to be working with
one actors coming in to read their cues

instead of seeing everything in a list,
you can just come over here,

zoom in a little

bit on that
and you can see if I come in to this menu.

I can choose
which characters I'm going to see.

So if I only want to see

Philip, then I do that.

And now I'm only going to see Phillip's
dialog for his recording session

and all of his cues.

I could show everybody if I choose.

So very easy to work with this,

and it takes no time at all to set it
up, as you can see.

And then once you're done,
you have the tools that you need

to be able to then edit this,
do your dialog editing and work

this right into your program
or your dialog for fixing.

And as I mentioned before,
you can also use this for Foley.

Now one thing that's very useful

is that you can also use our elastic wave

to stretch or change the wave form

to make sure that it matches the original
even better than what you had before.

And so that would be one extra thing
that you could do.

If I look at this and say, Well,
those actually line up pretty well,

but if I wanted to make a modification
to those, I can just right

click and choose elastic wave

from the menu.

And once I do that,
let me make this a little bit bigger.

Here we go.

You can really see that.

And so now I can actually stretch this
and decide, okay,

I want to make it longer or shorter.

I can really adjust

to make sure
that it fits timing wise to this clip.

I can nudge it over a little bit
and try to match it as best as I can.

I can even go in there
and not only stretch the entire thing,

but I can also go in there and finesse
the levels even more by

just pressing
command and clicking right about here.

If I want to add a time keyframe right
there,

as you can see, or a time marker.

And that's basically going to let me make
adjustments to it from within,

which is great.

I can also do another one over here
to just adjust the back end.

This will never change the pitch.

And so that just gives me the ability
to finesse these two,

to make them match up a little bit better.

Identify the person on MATLAB.

For your work.

So this is working with ADR.

So before I sign out from recording,
though, I do want to show you

how to set up those beeps just in case
you want to have the beep tracks

in order to have those.

The track has already been created here

at the bottom and ADR beeps,
but that was a track I actually created.

It takes 2 seconds to make a new track

and then you just need to patch it
to our built in system

generator and that will allow you
to generate the beep.

So I'll just show you how that set up
selecting a track.

I will over here
and there's the track right here.

You'll notice at the top
it shows that it is patched to the beeps.

And if I open this up and see the input,

as you can see the beeps track,
I want to see what it's patched to.

It's patched to our system generator
right there.

System generator.

And that you can find in the audio
inputs, the system generator.

And what that does is allows you

to use r oscillator, which gives different
sounds, noise built in white or pink.

And then of course we have our ADR beep.

Okay, So that's what you're going
to be looking for was the beeps.

And as soon as you patch those to a track,

then they will be triggered
by the ADR system.

And there's one other thing
you have to consider

when you're using that is it
also has to be set up in through mode.

So that is a live mic
that's constantly setting off a beep

that can be toggled on and off similar
to what you would do with Talkback,

where you push a button and you're talking
when you release, you're not.

But that Mike's always hot.

It's just when we actually engage it.

And so how to do that is will
just come over to

as past settings that you saw before

the path setting for your beeps
you'll see are set to through mode.

If they're not set to through mode,
the beeps will not work.

If they're set to record mode,
then it's just like recording a track.

And again, those aren't going to work.

It needs to be set to through mode

and you can have one or the other through
mode is for recording.

It's just an open mic, right?

It's just going to be set to through mode.

The sound is passing through
and that way the ADR can access that.

So there you have it.

You've now seen the voiceover recording,
you've seen how to set up your different

tracks and are for ADR tool set

right here in Da Vinci Resource 17.

Thank you for watching.