All language subtitles for 03. Interface part 2 Fairlight

Now let's take a look at each one of these individual tracks.

We can see that we have this little lock button on all of these,

and that's pretty much just to lock the track itself.

This is the same kind of lock that we're seeing within the edit page as well.

So when this lock is enabled, we can't make any changes to that track.

So this is good. Once you've completed a track,

you know that everything is dialed in there.

You don't wanna make any more changes,

you don't want to accidentally move things, you can simply just lock it.

You can even head over to your index over here and you can just hide it like

that. And that way it's out of sight, out of mind.

You don't have to worry about it anymore and you know that you're not gonna be

making any changes to it.

It can also be very useful for us to hide certain tracks within our index over

here. Normally I use the up and down arrow keys to jump between clips.

That's a pretty regular thing for me. I use these keys all the time.

Now if I have this track enabled,

then it's going to take those other clips into consideration and it's gonna be

jumping to the start and end points of those clips as well.

Now sometimes I don't want that right?

Sometimes a lot of these clips I'm done with them,

they're just a distraction at that point.

So just hide that track and that way you can move more freely in your timeline

and not be distracted by clips that you're done with or you know,

clips that you're not working with anymore.

So I'm just gonna unhide that first track over here and I'm going to unlock it

next to the lock button. We have arm for record.

So basically this just allows us to arm a track so that it's ready to start

taking in information from our microphone. Um,

we're gonna be learning about that later on and how to use this next to that.

We have solo, which is something I use all the time. Uh,

if we wanna listen to one track and just that one track,

we don't wanna listen to any of the other tracks,

just hit us on that track and it will basically mute everything else and only

play back that one track. Um, and then we have mute,

which will allow us to mute this individual track.

So a lot of the time I will be using a combination of the two.

Sometimes I'll wanna just solo attract, maybe I'll want solo two tracks.

And if I'm working with tons of different tracks,

this is a great way for me to quickly just analyze individual tracks and not be

distracted by the other sounds. If I'm trying to make very specific changes,

I'm,

I'm usually gonna solo track or if I'm applying an effect like reverb or eq,

I'll wanna solo that track solo that one specific sound so I can hear how that

effect is affecting just that one track. I'm just gonna un solo these.

And in the top right of our track headers over here we have this number and this

basically just tells us how many channels are in each track. So in this case,

all of these tracks are stereo channels, meaning that they have two channels,

they have a left and a right channel.

And stereo is definitely the most common way for us as human beings to take in

audio. So most TVs have two speakers, our headphones have two speakers.

We have a speaker for the left ear, a speaker for the right ear.

Same with AirPods.

Doesn't matter what you're using and this is pretty much the best way for us as

humans to take in sound information.

We have one signal coming into the left ear and one signal coming into the right

ear.

And it's the differences between those two channels that give us the illusion of

depth.

I'll be diving into the difference between mono and stereo sound in its own

video for now.

Just know that stereo consists of two channels and we can read that over here.

And mono is one channel and we actually do have a mono channel here.

I didn't see that earlier, I thought that this was stereo,

but this is basically just telling us that we only have one channel. Um,

and we can see in a stereo channel is that we have these two clips stacked on

top of each other and that just tells us that these clips are stereo.

If I was to drag this clip into the mono channel,

we can see that we now only have one channel instead of these two up here.

So by dragging a stereo clip into a mono clip, uh,

that might not be the best idea because you might be losing information.

The cool thing about true stereo is that the two separate channels actually have

different information in them.

So if we zoom in way up close to these uh, waveforms,

we can see for example here we have this peak over here and over here,

like the actual waveform looks different between two channels.

And it's those differences between the left and the right channel that allow our

brains to create this illusion of depth.

Our brains evolved to be able to analyze the differences between sounds between

our left and right ear.

And this is really just a survival trait that we possess as human beings

allowing us to pinpoint the location of almost any sound in any space in order

to avoid any kind of dangers, right?

So in the real world when we hear a sound and it's to the left of us,

it's gonna hit our left ear first before it hits the right ear.

And it's that slight change in the waveforms that are entering our ears that

allows our brain to kind of geolocate where that sound is coming from.

So working with stereo allows us to be a bit more immersive by

changing up the signal that's coming into the right ear versus the left ear and

just playing around with the differences between the channels in order to pull

off certain effects.

Whereas Mono will feed the same output into both ears.

But that's enough of that we don't have to dive in too deep right now.

I'm gonna hit shift Z so I can see my full timeline.

I'm just gonna close off the index here and I'm just gonna open up the media

pool. Now if I wanna drag some audio into the timeline here,

I can simply just click and drag. But if I want to create a track,

I can drag it down here down below and we can see that we've automatically

created a new track. And now with that clip selected,

I can just keep dragging it down and as we drag it down,

it's gonna keep creating new tracks for us.

Now if we want to import a bunch of clips at once,

let's say I wanted to bring the audio from these video clips in.

I can just click and drag them and we can see that it places all of those audio

clips side by side.

Now sometimes you might not want to import these clips side by side,

so what we can do is actually hold command while dragging these in and it will

stack them on top of each other.

So we can put each individual audio clip into its own track. If I let go,

we can see that we've placed all of those audio clips into their own separate

tracks. I'm just gonna delete these and let's close the media pool.

And of course if we ever want to rename any of our tracks,

we can simply just click on the name of the track right here and give it a new

name. So in this case, this track might be a sound effects layer,

so I might just call that sound effects.

Same with the one below and then maybe this bottom one here could be dialogue.

Now most of the time when you're working with dialogue,

especially when you're doing any kind of narration,

you're gonna want that to actually be a mono track.

Mono helps sell the illusion that the sound is like dead center right in front

of us and it's not moving anywhere left or right or or getting lost in space.

Mono allows us to ensure that the sound is coming from center stage.

So if we ever wanna change a track from stereo to mono,

we can just right click on it,

change track type two and then click mono and vice versa.

If we want to change a mono track to stereo, we can do the same thing.

So the reason we wanna separate each element of our soundtrack into its own

track, for example, the music music split up into two tracks here.

All the sound effects are probably gonna be on maybe three or four tracks,

maybe even more. And then the dialogue, we want that to be on its own track.

And the reason that is,

is because by keeping certain elements on specific tracks,

we're able to make modifications to that entire track.

And most of the time with things like dialogue,

that dialogue is gonna be consistent throughout this track.

If you know you're working with two different types of dialogue,

you're gonna wanna separate the other person's dialogue to another track so that

you can make global adjustments to that entire track,

which will affect everything in that track and know that it's going to affect

all the sound within that track pretty consistently because the audio in that

track is consistent in itself. But if we had,

let's say dialogue over here and then some sound effects over here,

it wouldn't be beneficial for us to use the mixers over here to add effects

and stuff to this track because maybe the effect that we want to apply to the

sound effect would very negatively impact the dialogue or vice versa.

So it's okay to have tons of tracks within your timeline over here.

That's actually a good thing. And with the help of the index,

we're able to very quickly navigate things, hide things.

So don't feel bad about making lots of tracks.

This can definitely be very helpful. Um,

even if you know you have one section of your timeline where you're using a

specific sound effect and you might feel like, oh,

I don't wanna make a whole new track just for, you know,

one or two sound effects from the entire video. Uh, don't feel bad about that.

It's a great way to set up your project in this way, uh,

because it makes the mixing process towards the end a lot easier.

So I'm just gonna hide the index. Now we can navigate the timeline over here,

just like any other timeline within Da Vinci,

we can hold option to zoom in and out.

We can hold shift to expand and shrink our tracks.

We can obviously just scroll up and down,

not holding any modifier keys just to scroll up and down in our timeline.

And of course we can hold command to scroll left and right.

Shift Z is a shortcut to zoom fully out. If we press it again,

we can zoom back into our previous Zoom value, um,

and we can just click option to zoom out as well.

So we're navigating this timeline the same way that we would navigate any other

timeline. We can also press the up and down arrow keys to jump between clips,

the starting end points, our markers,

all that fun stuff and the left and right arrow keys to move one frame back and

one frame forwards. Another important shortcut is command option up and down.

This just allows us to select what track it is that we have focus on

and this is also another great way for us to just uh,

select what track it is that we want to be copying and pasting different clips

from. So we can copy this clip over here. I can select option command down,

go to this track over here and because I copied that audio track,

we can see that little ghosting over there.

So I can move this to wherever I want in my timeline, hit command v,

paste it in, and then move over to a different track.

So option command plus the arrow keys allow us to jump between the different

tracks. And of course at any point I can go over to a track,

select that clip and just delete it.

And just like in the edit tab we can select any clip,

we can hold option and then we can move it up and down using the arrow keys.

So this is another one that I use all the time.

You guys know this from my select process.

I'm always moving clips up to the track above and this is just another great

shortcut we're gonna be using all the time within Fairlight.

Now notice that depending on what track I have selected,

the selection is going to follow the playhead in that certain track.

So if I have the first track here selected,

we can see that I'm jumping the playhead to these clips over here.

But these clips are not being selected,

it's only the clips in the selected track that are actually having a selection

being made to them. So uh, if I click this clip over here,

we can see that the selection now follows the playhead but only in that track.

So if I want the selection to follow uh, the clips in both of these tracks,

I can just hold command and click on both of these just like that.

Or you can just click and drag and when I move my playhead,

it's going to move the selection in both of those tracks.

Now one thing that you might wanna do later on is not just jump to the start and

end points of our clips over here or even the markers we already know.

If we add a marker to our timeline, we press up and down,

it's gonna jump to that marker as well.

Well if we want to jump to the transient of our audio files,

transients are basically just these peaks here.

So these are basically like usually most of the time in in music this will be

like a beat.

So we can actually set this up so that our playhead not only jumps to the in and

out points of our clips over here, but it can also jump to the transient.

And we are able to do this by pressing this button right here.

And this is the transient detection button When it's enabled,

we can see that we have this little button over here on each one of our tracks.

If this button is selected and I click up over here,

we can see that now I'm jumping between all the different transients of the

track right here in track one of this clip. So that's really cool.

So Da Vinci basically analyze this clip and knows where all these transients are

and now I can jump between them. So this can be useful in certain situations,

uh, but right now it's not that important.

And if I want to bypass on my track so that we're not jumping to all the

transients in that clip,

I could just click this little green button right here and it basically disables

it for that track. And now we're just moving in our timeline.

Normally shift Z to zoom out and I'm just gonna uncheck the transient detection

button here to go back to where we were now, just like in the edit tab,

the Raven Class shortcut for cutting our clips is W.

So if I have any clips selected,

I can hit W and it will cut that clip in half over here.

The basic way to do this is to use the razor tool over here, shortcut command B.

You can just hit command B and click anywhere that you want to add a cut.

I prefer to use the Raven class shortcut W just to add my cuts anywhere that I

want. Very quickly I just move the playhead to where I want to go.

Hit W and we will add a cut to the selected clip.

Now one thing to take note of is our shortcuts q and E are not going to work

within Fairlight and that's because we don't wanna be making any ripple changes

to our timeline over here,

especially when we can't even see our videos because who knows what kind of a

mess we would end up with if we were rippling things down here and it was

messing up the video up top.

So we don't wanna be ripple deleting our sounds within Fairlight over here.

So q and E are actually shortcuts that I do not use within the space.

One other shortcut that I use a lot is command X, which is just cut.

That's standard among a lot of different programs and I can move my playhead

anywhere that I want. I can even change what track, uh,

that ghosted clip sits on.

So it's basically copied that clip but it's also deleted it and I can move it to

other parts of my timeline, hit command V and paste it in just like that.

So command X is actually a very useful shortcut within Fairlight.

I use it all the time and it's really cool that we have that ghosting feature

because it makes it a lot easier to position our clips anywhere that we want.

I'm just gonna hit command z, undo that.

Another shortcut we're gonna be using a lot within this page is the range

selection tool and that's right here in the shortcut for that is R.

So when we select that by hitting R,

we are able to click and drag and create new ranges within our timeline.

And a range is basically just a new in and out point, right?

So we can see that this in and out point up here has been created for the range

that I specified.

Now this is something that's really important in the world of audio because

you'll find yourself wanting to loop certain moments of your timeline.

So you're not gonna want to constantly have to go back to the same point in your

timeline and keep pressing play.

So let's say we were focusing on this little area over here.

Without that in an outrage I would have to just constantly click back to that

beginning point and press play and keep playing back this one section in this

way. Now that is not an efficient way to do this.

The range tool is cool because it allows us to select a range within our

timeline. It creates that in and out point.

So I've selected this range right here and what I can do now is select loop.

And now what I can do is press shift space bar.

Now shift space bar is the shortcut for play into out.

So if I just press play the play Playhead is gonna move past that in and out

range. But if I press shift play,

we are now going to be looping this range right here and as soon as the playhead

gets to the end, it's gonna go back to the beginning.

So this is an incredibly useful tool and you'll see how useful this is.

You'll be using this all the time because let's just say I wanted to add a sound

effect down here and,

and I wanted to just hear this range and hear how that sound effect works.

With this piece of audio over here, I can manipulate the audio volume over here.

I could play around with the properties of both of these elements over here

while the playhead is continuously looping and that way I can get a live readout

of how these changes are affecting each one of these individual clips and how

these clips are working together.

So the range selection tool is a very important tool.

R is a shortcut we're gonna be using a lot here. So definitely one to remember.

And another shortcut one that we already know of is option X.

And that's just to clear the in and out point on our timeline.

We can also just click with the range selection tool.

So if we have a selection here, we can just click to clear anything like that.

I like to use option X as well,

especially if I've created a range here and I've gone back to my normal arrow

key here and I want to clear that range. Option X is the way to do that.

Now just like the edit tab,

we also have some different timeline view options and we can access those by

going right over here. If I click on this button over here,

we have a bunch of different options as to how we can view our timeline.

So the first option over here to the left allows us to view our video tracks.

If we click that we can see all the video tracks within our timeline and that

can actually be useful. Uh,

that can be very useful in a lot of situations because it just allows you to see

where the start and end of each clip is. So when we have our preview open,

we can see what clip it is that we're looking at,

we can see the start and end point and we can kind of time our sound effects

based on those start and end points over here.

But when you don't need to see that, don't have your clips uh,

taking up a real estate in your timeline. So you can just hide that.

Next to that we have full waveforms and if we click that we can see how it

changes the waveforms in our clips over here.

This just allows you to see your waveforms easier.

So I'll leave that on. That's totally fine to leave on.

It doesn't actually change any of your audio or anything,

it's just the way that we view things. Next to that we have the outline.

So when we have that disabled, we can see it.

There's no outline around our waveforms over here. If we have it on,

we have that black line that outlines our waveforms,

makes them a little bit easier to see. I usually just leave those on as well.

That works really well for me. I like the look of that.

And next to that we have the ability to turn the gain line on and off and the

gain line is basically just the line on the clip itself that allows us to change

the gain of the clip or volume. So volume amplitude gain,

that's all kind of the same thing.

And this line right here allows us to manipulate that.

So that's something that I always just leave on. Um,

sometimes I'll turn track displays on,

but in this case we'll just leave them off.

And we have some other navigation options here,

which I personally don't really touch.

But below that we have timelines scrolling, which is important.

So over here we have fixed playhead. This is the first option.

And this is great for sound design stuff because a lot of the time you'll be

zoomed in on your timeline here and if I press play, this is just jarring.

That's crazy. My timeline is every time it gets to the end of the timeline here,

it jumps back to the start, it pushes everything over. It's very jarring.

That is not a good way to be looking at your timeline. Well,

what the fixed playhead allows us to do is it keeps the playhead

fixed wherever we leave it and when, when we press play,

everything else is moving, but the playhead is staying in the same place.

So this is a great way for us to work within

Fairlight over here, um, and have it just be a little less jarring.

Now if we want to move where the playhead sits within our view here,

we can just click on the PLAYHEAD and move it. No,

right now moving the the background,

we gotta click on the playhead like that and we can move it just like that.

So we're not moving the playhead on the timeline,

we're kind of moving the entire timeline just like this.

And if we want to move where the playhead sits on the timeline,

then we gotta click and drag back here.

And that's actually moving the playhead on the timeline.

And when we press play that Playhead is going to stay in the position that we

put it in and everything else is going to move.

So that's a great way for us to navigate our timeline in Fairlight.

So shift Z to zoom out. And next to that we have page scrolling,

which is just the default. And then we have the option to not scroll at all.

So when our playhead leaves the window, our timeline isn't scrolling,

we're not adapting our view. So to me kind of pointless,

I've never actually had to use this. I just go between uh, fix playhead, uh,

and page scrolling over here. And below that we have our scroller over here,

which is something we are going to talk about in a future lesson.

But it basically allows us to view our individual frames of our project in

an interesting way. So if I click this,

we can see that we have this little timeline down here.

And when I scrub through my timeline, um,

it basically gives me a more accurate understanding of where

my timeline is sitting.

So if I'm trying to line up a certain sound effect with a very specific point

within my timeline,

let's say the exact cut between both of these clips over here,

I can just click and navigate to that point pretty quickly just like that.

So the scrollers um, can be very useful in certain situations and uh,

you'll see how I use those later on within this module.

And next to the video scroller we have audio scrollers which allow us to just

see the waveform within our timeline and line it up with the visuals a little

bit more accurately. So we'll be diving more into that in a later video.

So I'm just gonna close these off for now. We don't need to see those.

And that's pretty much all of our timeline display options over here.

Now above our timeline display options,

we have this dropdown here and this basically just allows us to jump between our

different timelines. So same thing that we find within the edit tab over here,

except it's above our preview.

It's just a great way for us to quickly navigate to the different timelines.

We have that same option within Fairlight as well.

Now a quick way for us to change the volume of any of our clips in our timeline

is to head over to this gain bar over here.

We can see that our mouse is on top of it when our mouse turns into this little

icon and we can just click and drag to change the volume of any of our

clips.

So another thing that I do all the time within Fairlight is change the color of

my clips. Now there's actually two different ways that we can do this.

The first way is to right click on any of your clips and you can go to clip

color and choose the color that you want to transform that clip into.

Now changing the color of your clips can be very useful.

It can just be a great way for you to very easily visually organize your

timeline. So let's say all of our music,

we wanted to make it all the same color. We can select all these clips,

right click, go to clip color, make them all pink.

That way we can just visually see that all of these are the same thing.

It's a quick and easy way for us to visually process that all of these clips are

the same thing in this case, all of them being music.

Now the way that I did it right there is,

is actually not the most efficient way. So I'm just gonna command z,

I'm gonna undo that. Uh, an easier way to do this,

especially when you're trying to change the clip color for all the clips within

a certain track is to right click in the track header over here and go to change

track color.

So in here we can choose violet and just like that it's changed all of the clips

within that track to that color.

Now if I bring in a clip from my media pool over here,

so let's say I bring something new in,

I can drag it in and automatically it'll be changed to the color of that track.

That's an important thing to understand as well.

So because we've set that track color now,

any new media that we bring into that track is going to automatically take on

that color.

Now let's say that we have previously changed an individual clips color.

So let's say this one over here,

we change it to teal and then we change the color of the

track to violet.

We can see that this individual clip,

because we gave it its own color on the clip level,

it's going to stay that color.

And now we can see that because I changed the track color,

it hasn't changed that individual clips color.

So that's also something important to understand.

If we change the color on a clip level,

that clip is going to keep that color no matter what we do on the track level.

Now, if we right click over here and we go to clip color and we clear the color,

then the clip is going to take on the color of the track that it's sitting on.

Now notice how this bar over here to the left of the header of the track has

also changed. And if we go into our index,

we can also see that that track has taken on that color over here.

So this is just another great way for us to get organized over here.

Maybe we want to make all of our music tracks a certain color.

All of our sound effects tracks certain colors and maybe in certain situations

we might want to go even more specific.

Maybe all of our detic sounds so sounds that are actually in the environment.

We can make them one color. And then the non-GE sounds,

the sounds that we are adding in as uh,

the creator to enhance the scene.

We can make all those a a separate color so we can organize this however we

want.

And the ability to change the colors of individual tracks and clips just gives

us that extra ability to stay even more organized. So I'm gonna hide the index.

Now at this point we know that we can change the volume of any of our clips over

here by using the gain line that sits on the clip.

It's this white line over here. We can raise that to make things louder.

We can bring it down to make things quieter.

But the cool thing about this gain line is that we can actually add key frames

to it pretty easily as well. So if I want to make one section quieter,

what I can do is hold option on my keyboard and create a key frame there,

create another one here and then create two more over here.

And I can take this middle gain line here, bring it down,

and I can manipulate the levels of my clip in this way using these key frames to

manipulate what parts of the clip are louder and what parts get quieter.

Key framing the gain is something that we're gonna be doing all the time.

So definitely get familiar with this. Now on the in and out points of our clip,

we have these little handles here that basically let us fade out the clip and

fade in the clip. So if I create a fade in like this,

it's gonna gradually bring the gain up.

So we're starting at zero and it's gonna gradually bring it in and this little

ball here in the middle allows me to change that transition.

So this would be smoother, this would be more abrupt.

So we could play with that line to kind of fine tune things exactly how we want.

And if we ever want to undo this, we can simply just grab the handle,

bring it back to its original place on both ends.

And now we're back to where we started.

Now a cool little fairlight shortcut that allows us to very easily change the

volume of any of our clips is option command and plus and minus.

I'm holding option and command and, and if I press minus right now,

we can see that we are decreasing the volume of the entire clip.

If I start pressing the plus button,

it's going to increase the volume of our entire clip.

So this is just a great way for us to change the audio level of any clip but at

one decibel at a time. So every time I'm pressing,

plus we're increasing the volume by one decibel Every time I press minus we are

decreasing it by one decibel.

Now another cool tool that we have access to here in Fairlight is the edit

selection mode tool.

So if I select that over here and I select all of these key frames,

this area that these key frames sit in,

I can use the edit selection mode tool to move all these key frames at once.

So I'm moving all of them in unison.

Now let's take a look at what happens if I'm not using the range selection tool.

So option X to clear that in an outpoint,

if I click and drag over this whole area over here,

I can't select all of those key frames and move them all at once.

Even if I use the range selection tool over here,

if I try to move these key frames, I'm moving them individually.

So if I wanna select a group of key frames and move them all in unison,

I'm gonna want to use the edit selection mode tool over here.

So I can click and drag to fill that whole area.

And just like that I'm able to move all those key frames in unison.

So I'm gonna click my range tool,

I'm gonna click into my timeline just to remove the in and out point.

And if I ever want to bring my clip back to its original state,

I can just hit command shift X to remove attributes, I can click remove, uh,

volume, click apply. And now we are back to where we started.

Now at this point we know that if we drag a clip over top of another clip,

let's say this clip over top of this one,

it's going to overwrite the data that was previously there.

So if I move this clip back over to the right,

we can see that the information that used to be over here is gone.

We've overwritten it with this clip over here. Well,

Fairlight gives us a really cool feature that allows us to bypass this so

we're not overwriting other clips when we drag one clip onto another one.

This is a really useful feature and it's something that I definitely encourage

you to enable.

What you're gonna wanna do is go do timeline over here and just select layered

audio editing.

Now if I select this clip and I drag it over top of this clip and if I let go,

it looks the same, it looks just like before,

but if I click and drag this off now we're not losing any of that information

from that first clip.

So this is just a great way for us to move clips around in our timeline without

having to worry about overwriting onto other clips.

Now we can't actually have two clips sitting on top of each other like this.

They are on their own tracks right now. And in order for us to see that,

we gotta head up here to view and select show audio track layers.

I made the shortcut for this option S, which is the same shortcut in um,

the color tab to create a new serial node. But in this case, in Fairlight,

option S isn't used for anything. So when I hit option S,

I think of that as show audio track layers.

And this way we are able to see those individual track layers.

So by moving this clip over top of this one here,

I can show those audio track layers.

We can see that we're not overwriting anything,

it's actually just bringing this clip over top of this clip.

And by showing the audio track layers we can see exactly what's going on over

here. So option S, that's the Raven Class shortcut for show audio track layers.

Now I'm just gonna undo this cuz I don't want these two clips to

overlap at all. There we go.

Now another thing that we're gonna be doing a lot in Fairlight is bouncing our

audio and bouncing is really just another word for rendering.

So in a lot of situations we might have a bunch of effects applied to a clip and

it's very processor intensive for our computer to try to play that back each

time. So in those situations what we're gonna wanna do is right click and select

bounce audio effects. Right now there are no audio effects on this,

but let's add something random.

Let's add distortion here and let's select one of these random presets. Uh,

let's hide effects.

So now what I can do is right click on this clip select bounce audio effects and

it's basically rendered out this clip, but with the audio effects on it.

Now if I hit Option S,

we can see that the original audio is actually still under there.

So I'm just gonna scale those up a bit.

So we actually haven't overwritten anything which is important to understand.

We've now rendered out that audio file,

but it's placed it onto a channel above the original audio.

So that's something that's really important to understand.

So the way that Fairlight reads these clips when it plays through the timeline

is it actually it only plays the media that's on top by default.

We can see that this clip down here has been disabled,

so automatically it's disabled, but we can hit D to enable it. Uh,

but by default it's disabled and it's only going to play the track that's at the

top. Option s to close off those audio track layers,

and I'm just gonna zoom out here

and shift z bring us back to our original scale.

I'm gonna hit command Z to undo that because I do not want this new audio.

This is the song of our video,

so we're probably not gonna be adding too many effects to it.

And just like in the edit and cut tab,

if we have any clip selected in our timeline,

the inspector is going to show us what is being done to that clip.

So in this case we can see that we have an effect applied to this clip and we

can view it in the effects tab of the inspector.

We can delete that effect right here.

And we can also go into audio to make any kind of audio changes to this clip.

Now notice at the top over here of the inspector,

it says timeline and then it shows me the name of the song over here.

Now this shows me that we only have one clip selected.

Now if I click and drag and I select a bunch of clips in my timeline,

we can see that that header over here changes. It says timeline multiple clips.

And this just tells me that I have multiple clips selected.

And the cool thing about Fairlight is we can select multiple clips like this and

now we can make changes to all of these clips at once.

So let's say that we wanted to change the pitch of all of these clips,

we can do that just like this.

We can change the pan and we can also play with the EQ down here as well.

So we can make these kind of adjustments to multiple clips at once.

So that's something that's really important to understand.

I'm gonna reset this and I'm gonna close off the inspector.

Now the last thing I wanna show you guys in Fairlight is the automation mode.

So this button right here allows us to enable and disable the automation view.

So when I enable that, it gives us a bunch of different options here,

which we will be diving into in the automation video. Uh,

but for now all you need to know is these buttons over here basically allow us

to enable what it is that we want to be automating or key framing.

Um, but the proper term is automation within the world of audio.

So I'm always gonna be referring to it as automation.

But since we are coming from the world of video,

the the best thing to compare automation to is really just key framing.

So these are all just different buttons over here that allow us to enable what

it is that we want to be automating. And over here, uh,

these are just different options as to how the automation behaves when we are

writing it within our timeline. So we'll be diving into all of that later on.

We also have some additional controls that pop up over here in our toolbar. Um,

and as we can see,

we also have this button over here on each one of our tracks and on our track

headers.

We also have this little dropdown here that allows us to choose what parameter

it is that we want to visually see on our track over here.

So if we're automating the gate depth in this situation,

we can visually see how it, it's gonna be automated on this track over here.

And we can filter through all of these.

We have the option to visually see any one of our effects plugins,

a lot of the parameters within third party vsts.

We can select those in here and get a visual as to how those parameters

are being automated on a track level. Now like I said,

the automation lesson is gonna be a whole video in itself. Uh,

but for now just know that this is the button that allows us to enable and

disable the automation view here. Now I know this has been a longer video.

I wanted to cover everything from the ground up within Fairlight,

just show you guys the most important parts of this, the most important panels,

and also cover all of the most important shortcuts that I use within Fairlight.

But that's it for this video. I hope you guys enjoyed,

I hope you learned something new and I'll catch you in the next one.