All language subtitles for DaVinci Resolve 15 - Fairlight Audio Production Part 1

Hi, I'm Mary, and I'm here to

talk to you about Fairlight page
individuals on 15.

So here we're going to take a scene
that was edited and we're going to develop

the soundtrack into a fully professional
quality soundtrack in audio post.

So if you're following along,
you've already downloaded the project.

So let's get started.

The project's open.

One of the things we might want to do
is go ahead and reset the user interface.

So under the workspace menu,

if your interface doesn't look
just like mine, go ahead and click reset.

And that way it'll match
what I'm working on.

Now let's talk about the interface
real quickly.

This is the default interface,
the main portion of the middle here.

This is all of your timeline,
your audio timeline,

and this is where you have
all of your clips in your tracks.

There's a ruler running across the top.

You can click anywhere on that ruler
to move to that particular frame.

And of course, you can see

which frame you're on
right there in the viewer at the top.

Now running

across the top of the timeline,
you're going to see your monitoring panel.

I'm actually going to mute playback

for just a moment
so that when I start playback here,

you can see this is where you have meters
for every track in the timeline.

And you can also see
I can see my video as I'm playing.

You can also resize your monitoring panel

by just dragging the left edge
next to the viewer.

You can see that
I can resize this any way a night too.

I can resize it any way I'd like to
because as you see, we've got meters.

But I only have three tracks
and three meters right now, so I can take

advantage of that real estate
and make it a little bit larger.

You can also resize the screen as well
by just pulling down below the viewer.

And now I have a larger viewing area
that I can work with.

So it's a very flexible interface,
which is great.

Now just below the monitoring panel,
you'll see over on the right

we have our mixer, and the mixer is
where we have a channel strip

for every track in the timeline,
you can just drag

the edge, as you can see, to expand that,
which is very useful.

And then here
I have a channel strip for every track.

If I click on any of those right here
and select them,

you'll notice that the corresponding track
will also be selected.

One other thing you'll see right away
is whatever track I have selected

when a clip is underneath the play head,
that clip actually is highlighted as well.

So that's very useful.

I'm going to stop playback

and if I want to deselect it,
just click anywhere in that gray space.

So we have our monitoring panel
at the top.

We have our mixer on the side
and then of course we have our timeline.

So those are the three primary areas
that we'll be working with.

And then here at the top above
the timeline area,

you're going
to see your transport controls.

And what the transport controls have
are just your basic controls

that you would use
for moving your play head around.

And of course, it's everything

you would expect your play, your stop
and his your record button, for example.

Now I'm going to jump back out of there.

The other thing we would use for playback
is, of course,

just the national standard,
which is a spacebar.

So any time you want to start

or stop, just use your spacebar
as you would with any other application.

Now, if I want to jump to the home
position just hit the home key

and if you want to go to the end
position, just press end

and that will always take you
to the last frame in your project.

So you now have a way to navigate your way
around.

Let's dive in and take a look at
what's actually happening in this scene.

Now. When you get a scene from editorial,
first thing you want to do is evaluate

What do I have here?

To work
with Everything that the editors do

when they're editing
their soundtrack is very deliberate.

They have a reason for it.

So part of the job is to figure out
what it is they're doing and why,

and then just to expand on that to make
it sound even better.

So right now I have three tracks.

I have my dialog track here at the top,
which is going to have

all the talking parts
and then we have our drone track,

which is going to be

a general filler track, and then we have
an effects track at the bottom.

Now one of the things that's very useful
is when you're looking at tracks

and we go in and look at them
a little closer is

you'll see that you have these two buttons
here,

a solo button, which is the S,
and then you have the mute button here.

And what those do is they allow you
to listen to only specific tracks

or to mute a track so that you can
evaluate individual tracks as needed.

And so that's what we're going to do right
here. Dialog.

We can kind of figure out
let's take a look

and listen to some of these other tracks.

So for example,
if I solo this drone track,

I'm going to deselect all the tracks here
by clicking the empty space.

And if I slow this and just start
playback, I can hear what it is

and let me just turn off my mute
so that you'll be able to hear it.

Also.

So that's just a

general drone sound
and those are used as filler

for just a background
sound to kind of fill in the gaps.

And it's also selling the idea that we're
on a spaceship, which is useful.

One issue I'm going to have
is obviously the volume levels on

this is going to be a little bit loud,
so we'll deal with that in a minute.

So we have our drone track.

Let's see what this lower track is.

I'm going to solo that one and listen.

Okay, So that is medical equipment,

as you can hear it.

That's going to be the respirator sound
that goes with our character who's here

on the medical equipment,
which makes sense.

We would want to have
some kind of respirator there.

So I get it.

Now, I notice that the editor
has put a fade on that's on that clip,

which means they're trying
to lower the sound, which is great.

But if I play a little bit forward,
I'm going to roll through this

and just see what's happening.

If I go a little
bit further, I'll see that

the respirator is still in the same room.

So it doesn't mean I want to make it
go away altogether.

We're just going to lower the level
of that clip when it's necessary.

So we'll do a little bit of work
with that here in a second.

So let's unsullied that track and let's

go ahead and make it longer
because we can.

And to extend a track,

all you need to do
is just grab the edge of it and just drag.

And you notice that any time you click
the tail of a clip, which is the end,

the head of the of a clip
is the beginning.

And if I clip click on the tail,
it will show me my handles,

which as you can see, I have plenty of
handles for this clip to make it longer.

So let's go ahead and extend it so it
lasts about the same length as our dialog.

And then I'm going to remove that fade.

If you look, we've got that fade here.

I can just remove that
by dragging that fade handle out.

So it's probably not necessary.

If it turns out we do need to fade,
we can deal with that when we get there.

One other thing while I'm here is let's go
look at the end now.

And I want to zoom in a little bit
just to see if we've done a clean job

when we extended this.

So let's put our play head down there
towards the end and we're going to zoom

in. And to do that, we can use
the Zoom controls here above the timeline.

You have to have one zoom control
for horizontal zoom,

and you notice that whenever you zoom

horizontally, it's going to always
put the play head in the middle,

which is great because then the clip
I'm working with is right there

front and center, and I can adjust it
or extend it, which is perfect.

So that is for doing horizontal zoom
and then for doing vertical zoom,

it's always going to
look at your selected track.

So if I select this track
and I make it larger, you'll notice

that I can really blow that out
and make it huge to work with

because that's the selected track
using my horizontal zoom.

If you're using a three button mouse,
by the way,

the shortcut would be the option key
for doing horizontal zooms.

And if you hold shift

shift and get this one to work,

if you hold down the option
key, it's going to do your horizontal zoom

and the shift key
is going to do your vertical zoom.

So you have total control of it
with your mouse if you prefer.

So let's go ahead
and make this a little bit bigger.

So now that I've selected that,

I can really see each progression
by looking at the waveform of

I can see the progression
of that particular sound effect.

And so now I know I want to extend it

and let's let it finish out that cycle
right at the end there.

And so now if I want to see, well,
how does that going to sound?

I'm going to zoom use my vertical zoom
to bring all the tracks back.

I'm going to click down here to the end.

And let's just hear how the end of this
sound with that finished piece there, what

he says what?

And then we go to a spaceship.

So I think that's going to work
just fine. Again later on.

If we decide we want to make
any adjustments, you can always change it.

Let's go back to the beginning.

I hit the home key
and I'm going to use the shortcut shift

Z to fit everything horizontally

into the available space on my timeline.

And before we actually go in
and make any adjustments,

I do want to point out, as I said before,
this was edited on the edit page.

Let's go to the edit page
for just a minute.

First thing I'm going to do
is let's move our play

head somewhere over that first clip.

So you just have one spot there
that you're looking at

and you can see, okay, we've
got our character, the very first shot.

There he is.

And then let's go to the edit page.

And when you go there, you're going to see
we're on the exact same frame.

It's the same timeline.
Nothing has changed.

The only thing that changes.

We actually went to the edit page and here

you can see what we actually did
when it was cut together.

And if I click this horizontal line
in between my video and audio, you can see

you can raise it up and now you can see
the entire timeline right here.

And I can hit shift Z and I can see
the exact same clips, same timeline.

As you can see, it's very uniform.

We're in the same place.

We're just looking at it
from a different page.

This is where you go when you want to edit
your picture and sound.

Let's go back to the Fairlight page.

This is where you work on your soundtrack,

and then in the Fairlight page
you only work with your sound.

So that's perfect.

So here we are
and we are ready to make a few changes.

So the first thing we have to work

on, and it's the most
obvious, is our volume levels.

So we're going to start
with the drone track

and let's just deal with the volume
levels.

I'm going to solo that track again
and when I solo that track, just click

the button there and if I start playback,
we're going to focus on the sound.

And I want you to look at the meters

because you don't have to know that much

about the meters
to understand how they work.

Even if you're brand new to audio mixing.

I'm going to give you a couple of clues
here for your sound levels.

These levels are marked
in three different zones of color,

which makes it very easy
for you to see instantly

if it's too loud or too quiet
to get your basic level set up.

If I start playback, you'll see and I'm
going to dim the sound just for a moment.

If I look at playback on this drone,
you see how it's in the red area?

We don't want a background
sound ever to be in the red.

Okay?

Unless someone's standing

next to a jet engine,
we don't want to have it in the red area.

The yellow area is actually
where we want to have all of our dialog.

If you always mix your dialog
so it's in that yellow zone,

it's going to sound good.

And then of course you finesse the levels
as you go.

The Green Zone would be more for your
background, sound background music.

So let's go ahead and move this down
to the Green Zone now and to lower it.

We have a couple of choices.

We can select the clip itself and we can
just lower the volume level of the clip.

And you notice as you raise

or lower, just click on
and I'll zoom in a little bit for you.

If you just click this overlay,

you can see that
I can raise or lower my levels

and the graphics
will update on your waveform

so that you can see
if it's louder or quieter.

You can also adjust the level
of the track itself in the mixer

or right here using this field.

So you have a choice.

It's preferred if you just go ahead
and change it inside of the timeline.

On the clips balance those first.

So that's what we're going to do here.

We're going to use our mixer as a guide
and we're also going to bring up

one other panel, and that's our inspectors
to go up to the top right.

Let's look at our inspector.

And this is very useful
because the inspector allows you

to find out more information about
whatever you happen to have selected.

For example,

if I select this clip, you'll notice that
it shows more information about the clip.

If I select the track, it's
going to show me information

about the track
and allow me to make changes there.

So in this case, I just want to select
the clip and let's look at the inspector.

And here it shows me the volume level.

It shows pan.

If I need to adjust the pan,
I can adjust the pitch.

And there's even some icue

that you can make adjustments to
if that's what you need to do.

In this case,
we're just looking at the volume.

I'm going to click this reset button
right here and that'll reset

the volume level of that clip
since I was just messing with it.

And now what we're going to do is
make the change here on the clip itself.

Now I can change it by dragging
or I can change it by dragging over here

on the clip volume in the inspector
so I can do it either place.

If you ever want to reset your level,

just double click on that volume overlay
and it will automatically reset it.

And by the way,

when you're looking at this field,
that 0.0 does not mean zero decibels.

What it means is no change
has been applied to that particular field.

So it just means that no changes
have applied.

And then what we change is how
many decibels we've made adjustments to.

So let's come over here
and I want to lower this a lot.

So I'm going to start playback
and as I play that, I'm

going to bring this down until again,
I don't want it in the red.

I don't want it in the yellow.

I want to bring this all the way down
to the green area and there it is.

And you also want to use your ears
when you're working with sound, obviously.

So you have to trust how it sounds

in addition to just making adjustments
based on betas.

Okay, So they both work together.

So now that I've changed the level

of that particular clip,
let's see what I set it to.

If I make it selected,
I can see I'm around -13 decibels

is how much I've lowered it.

So let's do the same thing
to those other clips in the track.

I'm going to hit Shift
Z to fit everything to the timeline,

and then I'm just going to select
all of those additional clips at one time.

And when I do that,
look what happened in the inspector.

The inspector now shows that we have
multiple clips selected,

and that's perfect
because with multiple clips

I can then make the adjustments
to all of those at one time.

So I'm going to go ahead and lower
those levels to around -13, -14, anywhere

between 13 and 15,

just something that's low enough that it's
not going to be stepping over my dialog.

And I've now set the levels
of that particular track.

What's great is because we did not adjust
the level of the fader at all.

It means I have all of this room

to adjust my fader later
on when I get into mixing.

Now let's move on to this next track.

So we've dropped down and fixed the drone
track.

Let's now look at this effect.

And if you remember this effect
had that fade going on

by the editor,
and now we're going to figure out why

that fade was there and do the same thing,
but we're going to do it on the track.

And then on the clip.

So the first thing I want to do is let's
reset the level of this particular clip.

Double click looks like it's set.

I notice that the level of the track
has been lowered by 15 decibels.

And if I look over at the mixer,
you'll see that

this fader has been lowered as well.

So in editorial they just dropped that
level and that was how they dealt with it.

So let's go ahead and start
by resetting that level.

Just double
click on that fader to reset it and let's

just see what we're actually dealing with
and then we'll make adjustments to it. So

I'm going to turn off my dim for a moment.

So I'm playing it at full volume
and let's listen.

Okay?

It's it's a good sound.

It really sells the idea
of this respirator that we're seeing.

However,

it's also kind of loud
and it's going to be a bit annoying

and we don't need it to be annoying.

We just need it to be present
and make sure that we're selling the idea

that this guy
is actually under this medical equipment.

So what we'll do is
we can adjust the level here on the fader

and this time we're going to do it
while listening with the other tracks.

And to do that,
we can just start playback.

I'm going to do mine dimmed,
but you can do yours at full volume

if you're following along.

And we're going to just drag this down
and lower it while we listen.

And actually, I will take off Dim
for a moment and try this.

I started at the very beginning press home
and I'm just going to listen

and lower that level
and I'm going to watch my meters.

Let's make sure that those levels
are down in the green.

So here we go.

Start playback and just lowering it.

Okay?

I want it to be subtle

here we go.

Somewhere in that ballpark is good.

So I've now lowered the level of the track
by using my ears.

And notice that it also lowered it
here and the fader.

So set your own levels and just watch it.

As long as I'm out of the yellow zone
with that, I think I'm okay.

I can bring it down a little bit
if I need to.

You can always adjust your levels.

It's not a set it and forget it
kind of environment.

When you're constantly changing levels,
when you're mixing or working with audio,

the idea is to keep them balanced
as you go so you don't have so much work

down the road trying to just fix them
and make them work together here.

They're already working so great.

We've got that part done. Next.

What we want to do is go ahead and lower
it and we're going to try to achieve

what was done with that fade out.

Only we're going to do it
a little bit smarter right here in audio

by adding a couple of key frames
to the clip itself.

One of the thing I want to do
is I'd like to see the video track.

So we're going to come up here

to the Timeline Options menu
and we're going to click on that.

And in the Timeline Options menu,

you have some

choices for being able to see
different elements of your timeline.

I want to just go right here
to the video tracks,

and by turning that on, we'll be able
to see the actual video clips.

Just click out of that menu
once you're done.

And now I can see every single clip
that was edited in the timeline,

all of the different tracks
from my edit page,

I can actually change them,
which I wouldn't want to do.

I can just see them as a reference,
which is great.

When you move my play
head over here to around 12 seconds

and I'm going to zoom in.

All right,
So let's zoom in on our clip now.

I've got a lot going on here
in my real estate,

so I'm going to
I'll keep the inspector open.

But just letting you know
that you can always adjust your volume

or you can always adjust your clips
as you need to.

For example, right now I can collapse
these clips just horizontally zoom

so they're much tighter.

These tracks,

and then I can just extend this one track
by dragging

the bottom of the track header.

And now I've made this one much larger
so I can focus just on the area I need

to right now.

Now, this is the area in question.

And as you can see,
we go from having the character right

in the foreground to our main character.

Looking at him, walking across the screen
and from the rest of the scene,

he's going to be in the background.

And so for that, we can actually
just lower this level right here.

And let's use his clip when he walks
across the screen as a guide.

So I'm going to move my plate here.

And if I look, I can see that there's one
section there in the waveform where

we have one of those respirator,
fully full respirator moves.

So let's go ahead and use that as a guide.

I'm going to option
click on the volume overlay.

And when you option click,
you set a keyframe right there

on that particular overlay at that moment.

And I'm going to come over here,
I'm going to set a second one

on the other side of that particular
respirator area.

So we're looking at this piece
and now when I play that back,

these keyframes
are roughly the same length as that shot.

And then what I'm going to do is
I can lower the volume level

of the entire rest of the clip.

And what it's going to do
is going to give me a nice gradual fade

as he's crossing the room.

And then by the time he gets to this side
and we see the respirator

in the background,
it will be much quieter.

Now, you can use your inspector as a guide
if you want to,

to look for obvious numbers.

For me, I'm just going to listen to it
and see does it work?

I want it to be present.

You want to hear the respirator?

We just don't want it to be stepping
all over our dialog at any time.

If we realize it's annoying us.

If it's too loud,
you can always adjust that level later.

So let's play this back.

I mean, with my playing right about here
and just play this little section

and there you go.

So here you can you can hear that
it's clearly still in the room,

but now we've lowered that level.

So we accomplished

what the editor had done with the fade,
but we didn't remove it completely.

And now it's still working

as part of the scene because obviously,
if it's in the scene and we can see it,

even if you don't see it
visually in every shot, it's still there.

And when it comes to audio,
when you're selling a location,

you have to make sure the sound effects
are consistent throughout the scene.

So let's hit shift, see?

So we have now finished that section.

Now remember how
I change the size of that track.

I can adjust that
by just changing my horizontal zoom.

You notice that all the tracks
now catch up and they're all the same size

again.

Let's let's now close down
a few of these different panels.

I don't need my inspector right now,
so you can just click that button.

I don't need the mixer right now either.

And in fact, I don't even need to see
all of my monitoring panel at the moment.

I just want to see the viewer.

And if that's the case, you can just click
this little button below the viewer

and it'll pop it out
as an individual moving,

floating viewer that you can resize
and I can even hide those meters.

And so now I'm working with my timeline
however I need to to get through my job.

And in this case, I'm going to set it up

just like this and find out
what else I need to do for my project.

Let me set it down here and I'm

going to hit Shift Z and notice
my entire timeline fits again.

And now I can move on to
what else I need to do.

Also, I don't need my video track
any more, so let's hide that as well.

Go up to timeline options
and just turn that off.

So now we're focused on our timeline.

We've got our levels balance pretty good.

So now we're going to look
at some of these markers

across the top of the timeline.

So if you notice over here on the left
hand side, we have an index.

Let's turn on our index
and this is going to show you

your different tracks
and also your markers.

And so I'm going to look at the markers
index for a second.

Let's go into list view
and in the list view of our markers.

This allows us to

if you look at the list view,
this is going to give you a thumbnail

for every single marker and it's also
going to give us additional information.

And these markers were created
by the editorial department.

And by the way, I'm going to resize this
a little bit, just grab the edge and pull

and now I can see all that information
and you notice the entire interface

changes to accommodate what it is
I need to do at any time, which is great.

So what I want to do
is I'm going to move this color.

I want to move this particular category
over to the color of the markers.

I just moved to the left and there's
some of these different columns.

I don't even need that information
right now.

I just want to see the name
and read the notes.

So if you right click on
any column header, you can just turn off

your starting your ending time code
and your duration.

So now I can focus on just the elements
I need.

Let's resize the name column.
There you go.

And so this is a nice way

where the editorial department
can leave notes or you can sit down

and you can set notes within the timeline
and pass information back and forth.

And we can keep it

just like a spotting list
right here in our timeline to look at.

I'm going to sort by my colors
here, and I notice the purple markers

have to do with sound design.

And then we have these red markers here.

And those are have to do with things that
we need to fix within the dialog tracks.

So I'd also, since we're looking at these,
one thing that's come to mind,

I'd like us to actually add another marker
is let's go back towards the beginning.

Just click over your play head
in this empty space.

This shot at the very beginning,
we have that respirator

and I know you see the respirator on him,
but to me, nothing

speaks of hospital or medical equipment
more than a heart monitor.

And that's a really known sound.

And I think that will that will
really help sell this entire scene.

And so one of the things I'd like to do
is let's set a marker for a heart monitor

to remind us
to actually create one later on.

So to set a marker, just move.

You play it anywhere over that empty space
where we're seeing that clip

and you can either press m the shortcut
for marker or you can just come over here

to this marker area
and just click on the menu,

go down, and let's
just make a purple marker in this case.

There it is.

And if I want to write information in it,

just double click
the marker right there in a timeline.

And let's call this heart monitor,

because we're
going to create one of those from scratch.

It'll take us about 2 minutes

to record and create our own heart monitor
that will be using in a little bit.

So that's just a reminder for us.

So now that we've set our markers,

let's go ahead
and I'm going to sort the other direction.

And now I'm sorting through the red
markers and we're going to go in there

and see some of these different elements
that we were working on

for our dialog tracks,
which is very useful for now though.

Let's do a couple of these short bits
here for our sound design.

Let's look at the first marker here
that says Suspenseful drone.

Just double click that thumbnail and
it'll take the play head to that position.

And that's the first thing
that we're going to do.

I don't need my index anymore for now,
so I can resize it this way

if I want to make it smaller
or we can just hide it.

So let's just hide our index and we're
going to go into the media pool instead.

Now if you just

open up this project, you depending on
what you have selected here, our master

bin is where all of the information
or all of our different bins of media is.

In this case, we're going to come down
to where it says SFX Sample.

And this is where we have some different

sound effects and we're going to go into
our drones in atmosphere sound effects,

and this is where we're going to find
something that we can add.

The instruction was suspenseful drone.

So that's what we're going to put here.

And I'm going to move my viewer
over to this area for the moment.

Again, I can move it anywhere I want to
whenever I need to, which is useful.

And I'm not even going
to create a track fact.

I could even close this right now
if I want to and come back to it later.

I'm not going to create a track.

I'm going to show you how we can have.

Fairlight will create the track for you
based on your media.

So let's go through here and look.

We're looking for something
called Suspenseful Drone.

I see something down at the bottom.

You can look at them in list view
or icon view, and any time you select

a clip, you'll notice that it shows up
right here in the preview panel.

And what's nice about the preview panel
is this gives you the ability

to use your home and keys to see
the beginning and end of your clips.

You can also play the clip
through This is our drone.

And that's
definitely a suspenseful drone, right?

I can hear that.

And you can even use your spacebar
to start and stop this.

In this case,
we're going to use the entire clip.

I do want to point out that there's
a second suspenseful drone in there.

If you notice
that one has six channels of audio.

So that's a 5.1 surround sound effect.

We don't need that
for this particular shot.

So we're going to come back and use
just the two channel suspenseful drone,

you know, So it shows me both channels

and we know it's going to go to this
purple marker.

By the way, if you want to navigate

between your markers
without going to the index,

just hold the shift key
and use your up and down arrows.

And let's come over here
into the timelines.

Knows I can be anywhere I want to.

And if I use my up and down arrows,
it will go from marker to marker.

So let's

make sure we're on that purple marker
right here in the middle.

And I'm going to bring this clip over
and I could do one of two ways.

I can select it
and drag it straight from the list

or I can bring it from the preview player
and just drag it down and notice

that I'm going to move it to my plan
and notice a new track is created for me.

And I just released this
and now it's in the timeline.

It's created a track that matches
and I matched it to my marker position.

So that's how easy it is
to edit a clip into the timeline.

The first thing I do always
when I've added new material is let's

go ahead and name that track right now,
double click the name and just type drone

to and that we have two different
drone tracks.

I also like to use colors
on my different tracks to keep well,

keep track of them, right,
but to organize them so we'll

right
click and go to change track color to Navy

and that way
it matches my other drone track

and I'd like to also move it up
so it's with the other drone track.

So we will just right
click again and choose move up.

So as you can see,
it's infinitely flexible

and you have total control
as to where you want

to put your clips and editing your tracks.

So now that I have this here,
first thing we have to do

and you already know
this is we're going to set the levels

now instead of bringing up the mixer,
we should be able to do it

by just looking at this little meter
right here in the track header.

So I'm going to watch it.

And it's just so low that track and listen
and you see how it's in the red.

So we already know that it's too loud.

You've already been taught this,
so let's bring it down quite a bit.

So if you can get that down in the Green
Zone, that's pretty good.

And then you're just going to
have to use your ears and trust yourself.

At some point you have to go,
I know if it sounds good or not,

and you can have to trust your own ears
and make adjustments accordingly.

So let's go ahead and just add a fade
at the beginning and end,

and let's
just play the beginning of this section.

I'm going to start at the purple marker
and just play

just for a couple of seconds.

If you want to see the video and audio,
let's bring up our meter

so you can see the video
and just start playback.

And it'd be nice if we onslow that track.

So let's try that one more time
and that kind of discrepancy.

And here comes the drone.

You died.

You see how we have that
nice subtle drone?

You don't want to beat someone
over the head with.

You want it to be a nice, quiet
something that you just slip in there

just to add a little bit of suspension
and it disappears just as easily.

At this moment, I don't know how
the director wants to play this scene.

This is a scene of people
talking in a room.

So it may have music,
it may not have music,

but the drone will really help us
on the emotional level at this point.

So there you go.

We've just added that.

Let's add one more thing.

If you notice,
I've still got my media pool open.

Let's go to our index and you notice
you can have your marker index

and your media pool
showing at the same time, which is great.

And what we want to do is
let's look at that

other marker below this
that was the subtle explosion sound.

Double click that icon, and it will take
our play head to that position

and we're going to add a little explosion
right here where Philip says, boom.

So I'm going to now hide my

index and let's resize our tracks.

I'm just going to use my

vertical zoom there and just make these
a little bit smaller so we can see them.

And we're going to add an impact sound.

If you notice,

we can go to our sound effects,
look for where it says impact right here.

That's one of our categories.

And I have two different
sounds that we can choose from there.

And before we do that,

instead of bringing it

just into the timeline
to create its own track,

we can actually make a track ahead of time
if we like.

So let's just create a track
from scratch this time,

just right click in the header area
and just choose Add track.

We want this to be a stereo track
and there it is.

It's just created the track for us.

Let's name the track.

It's always a good idea
and we'll call this Impact

and the impact.

Anytime we have a sound
that's going to be an explosion

impact, something loud and and disruptive
that we really need in our scene.

It can go into this track now.

So let's choose one of these two sounds.

Let's go over to our media pool.

We have a soft hit.

I'll press the home key
to go to the beginning and play.

Okay, that's one.

And then let's listen to this other one.

Okay.

And these are pretty
even though they seem loud on the meters,

they're not too loud.

These are nice, resonating,
very low frequency

kind of sounds just to kind of sell
the idea of an explosion.

So let's go with the soft hit right here.

And I'm going to drag this to my impact
track and I'm going to line it up with

the marker.

There we go.

So we've just added our Sound effect.

One other thing I'd like to do is let's
go ahead and color this track purple

right click and change the track
color to purple.

I just happened to use purple
Purple for effects.

You can use any kind of color schemes
you like.

I just like to use purple for effects.
That's just me.

So once we have that in there,
we now have added two new tracks.

We've added a little bit of sound effects.

We've kind of built up the scene.

Let's see what we actually did.

I'm going to hide the media pool.

I'm going to zoom in a little bit,
and then this time I use the command

key and plus or the equals sign
and it just makes it a little bit bigger.

So I can actually see what's happening
here.

Might reduce the size of these tracks
a little bit

and make this one a larger because I can
And as you can see,

this gives me an opportunity
to see what I've actually done.

Let's move our play
head back a little bit.

I'm just going to play this
section. You would spacewalk.

So just 2 hours to go

boom, this explosion
and it's around the whole ship.

Okay.

So that is our clip in the timeline.

Now what we want to do
is maybe adjust the sound

a little bit more of this particular clip.

It's good, it's loud.

But I think I want to just punch this up
a little bit differently in the story,

because I think instead of it

being part of his memory,
if you notice that as we play through.

This explosion
and it's around the whole ship.

Here, we actually see the explosion.

So I'd like to move this over.

And to do that, I'm going to actually
bring up something new in the interface

that's very useful
for matching sound effects

or different things to the picture.

So let's go back over
to our timeline options

and we're going to go down here
to our scroller.

And we have one video scroller we'll
bring up and one of our two audio scrolls.

That's all we'll need for now.

And then just click off of that
to close up that menu.

And over here you can see we now have

a filmstrip where we can actually see
every single frame.

And we also have down here we can see
our waveform, which is very useful.

I'm going to move my play head
back to that marker so that I can see

here are the two elements,
the way they're synched at the moment.

I'm going to play through this,

Okay?

And then let's go through here and notice
if I drag this, what I'm really doing

is I'm just moving the play head around
and what I want to do

is I want this to start
on the first frame of the space ship.

So I'm actually going to double click
on that frame.

My play head is now move to it,
which is great.

So now that it's moved to the spot
that I want it to go, I can now

not move the play head,
but move the clip itself.

And one thing about moving

clips around in the timeline
is if you zoom in on the clip

like I am right now, the more you zoom in,
the more refined your movement will be.

So by zooming in a little more,
when I drag this,

I can move at the subframe level,
which is really useful.

I can really place
is exactly where I want this to go.

So there I just place it
because I don't actually want the clip

to start on that first frame.

I'm going to back it up a tiny bit

so that the explosion is happening right
when we see the explosion on screen.

So as you can see,
I've lined it up here on the timeline

and I've also lined it up down here
using my scroller.

So that's what the scrolls are useful for.

And then if I want to play this section
again, I'll go back to my marker

and play this one more time.

Boom, this explosion
of this around the whole ship

feel skills.

Okay. So and that's working great.

So now that we've done that, I'm
going to fit everything to the window

and we're going to hide our scrolls.

Those are a valuable tool when you need
them, but always hide the parts,

the elements.

Any time you have something
on your interface

that you don't need, it's a good idea.

Just hide it until you need it again.

That way you keep more real estate
for your actual work.

So that's great.

So now we have accomplished
getting some of our clips together.

We have set up our basic tracks.

I'm just resizing things a little bit here
so that they all match.

And now what we're going to do
is we're going to now

focus on the most important part.

90% of what we need to do
is all going to be on the dialog tracks

because dialog is king.

Dialog is the most important part
of our soundtrack,

if nothing else is right,
as long as we have our dialog clean

and clear,
you can use very little sound effects

and music and still have a good scene
or the drama will still work,

but you have to do the work to make
that dialog really effective.

So we're going to now
focus on the dialog tracks.

Now, one of the neat things about
this is we can change our interface.

Let's go back to the index
and we're going to go to the track index.

And since we're going to focus on
dialog tracks,

one of the things we can do
is actually hide all of the other tracks.

Now, if

you didn't follow along
with all of the other steps

that we've done so far, if you notice
right here in this pop up menu,

and also let me hide the index
and go to the media pool here

in the tutorial timelines
and you'll see that I have all backup

timelines for you so that you can
just go on to the next timeline.

And right here,
a number to record new voiceover

and you'll have the exact same timeline
I just had and you'll be caught up.

So you have that.

You can access

your timelines here in the media pool
or you can also access them right here

by just using this pop up menu
and find the next timeline.

So now we're back to the index.

What we're going to do

is I'm going to hide all of the tracks
except for the dialog track.

We know they're there.

We know the levels are set, everything's
working well.

I'm just going to come over here
and notice those little eyeball

icons right here
that shows your visibility for track.

If you click it on or off,
you can just hide the track.

It does not meet the track.
You will still hear them.

I'm just no longer

looking at them in the timeline
so I can focus on the parts that I need.

Let's hide the index and then
fit everything to window with Shift Z.

And now we're going to focus
on these light green clips here.

These clips were created.

These were recorded on the set.

This is basically scratch voiceover
or this was someone reading

it, feeding the lines to the actors,
but it wasn't real talent.

So now it's time to go in there

and record the voice of this character,
who is our computer.

So I'm going to just start playback
and just let you hear a little bit of this

dialog and
then we're going to work on replacing it

and then you do this it across.

Are you sure

it identifies.

The person I'm speaking with?

Felix Maeda Okay,
so you can hear the voice.

You can tell that
it's not a great recording.

It was just again,
it was cut in there for timing.

We do not see the computer.

The computer is not present in this shot,
so we don't have to do dialog replacement

and actually try to match up words
to moving or anything like that.

We just need to record
some basic voiceover into our timeline.

So first thing we need to do
is let's create a track, just right click

add track.

We want to make a mono track

because it's always good to keep
your dialog in mono as much as possible.

That's a single channel of audio.

When you're working
with a single channel of audio, you have

more control, less chance of phasing
or any other issues

with it, and we'll have a nice clean sound
that we can work with.

So and let's

go ahead and name our track, double click
that I'm going to call it Etta.

That's the name of
the computer voiceover video.

And so

now I have my ETA voiceover track,
and even though it says Audio six,

right now, we're looking at it
directly below audio one or a one track.

Now one, one issue we might run into
is these clips.

I'm going to zoom in
and remember wherever you play here.

This is where you zoom.

So if you have it near the clips

you want to zoom into,
you can see them really well.

One thing I'd like to do is we no longer
need to hear these particular clips.

So if you want to disable clip,
you can just select it, You can right

click on it and shoot and click this
right here, which is enable clip.

If I uncheck that, I've disabled the clip,
which means we won't hear it.

It's like muting it within the track.

So let's mute that first clip
and I'm also going to turn it off

all the other ones as well.

So I'm going to command select
those to get multiple clips at once

in the timeline I've selected
the first one, let's command select

Holding Command
and I've clicked each of those

and then if I want to disable
them, the shortcut is just to

and I have disable that clip.

Let's do this last one over here D again
and I have disable that clip.

Now, I can enable them if I want to,
but I've now turned them off

so they're mute and now we can focus
on replacing those with some other sound.

So for this example,
I'm going to record my voice

and I'm going to show you
how to set that up.

I have a USB microphone that I hooked up
just for this example

that we'll use
and we need to set up this track.

So once you've connected a microphone,
if that's what you're using

or if you're following along at home,
you can even use your built in microphone

just for this example.

So you can see how to record and patch.

Now to patch your tracks, just go up to
the Fairlight menu at the top

and choose the patch input output menu.

And when you click and you go Fairlight
menu, let's go to patch input output.

And when you select that,
it will bring up this panel.

And this panel will allow you to,
in whatever you have connected

on the left hand side
as my source, it'll show inputs.

That's the default.

And I have this is this microphone
record in stereo or mono.

So I'm just going to click
one of the channels and this is fine.

And then I need to choose which track
I want to record too.

So over here for destination, you want to
make sure you choose your track input

because that way I'm saying I want to take
my audio input and record it to a track.

It's a very simple stream.
If you understand it.

And which track do we want to record to?

It's right here.

It's my voice, tone, voice over track.

So once that selected
come down here and click Patch and you

now it shows you that this is going
to be going to the end of the track.

And it also gives you
the same information on the other side.

When you're finished. We can close this

and once

a track is patched, you can now go to that
track and arm it.

Now, because I am in an environment
where I'm wearing a mic and also have a

mic, here is I'm going to be a little bit
with this one and I'm actually going

to mute my output right now
just so that I don't send feedback in.

If you're listening
with headphones in recording,

you won't have any issues with that.

But it's always good to be conscientious
before you start working with a mic.

If I want to come over here and

arm this track,
all you do is click that are button.

You'll notice

I go to my mixer that you also have the
ability to arm a track right here as well.

So in either place
you can arm your track that our

our button means that my mic is open
and I can record.

Now I want to do one other thing
with this mute That track for a second

is the one one other thing
I want to do, which is unique to Fairlight

is because we are part of DaVinci Resolve

and there's a fully functioning editing
editor right here on the edit page.

We actually have an advantage.

We can go over there and use titles
as a script prompt,

which is exactly what we're going to do.

So let's go over to the edit page
for just a minute

and when you click on the edit page,
if you look, you're going to see that

right here.

I have a piece of text
that's been sitting in there,

just select it

and you do the exact same thing
we did with those

audio clips is we're going to enable that.

So you can either right click, enable it
or we'll just select it and press D

and that just enabled it.

And now I can see my dialog
on my different lines from my script.

This also works.

You can even use scrolling text
if you have a really long piece

of voiceover, you can use scrolling text,
you can copy and paste into that text

and then you can use it
just like a teleprompter.

So it's very useful.

Now we can just jump right back
over to the Fairlight page

and now I have a script I can use,
which is awesome.

I'm going to pop this right

out of my monitoring panel, close my meter
so I have plenty of space,

and now I'm ready to record
and even have my script right here handy.

So if you're following along,
feel free to try this.

I'm going to just show you the mechanism

of how we will record and then we'll jump
ahead to the next section.

So I'm going to unmute this track
and I'm going to come up here with my mike

and I'm just going to do a rough recording
because we're not actually trying

to match anything else.

And let me solo this track

so we won't hear any of the other tracks
at the same time.

I don't have to match it with anything,
so I'm just going to record it in.

It doesn't matter if it lines up
with anything, we can edit it later,

so I'm going to read over these lines.

It's for eighties computer voiceover
and let's read through them one time.

I'm just going to click the record button
when you're ready to record.

So here we go.

Amelie on a Newton. Yes.

Philip a Philip made.

I cannot explain this discrepancy.

Earth Date is March 22nd, 2103

and just hit the space bar
when you're finished.

And here I can see my waveform.

There's my levels, I can adjust.

And so my first take is finished.

Now, one thing I like to do

is I'm going to right
click and color this orange for no reason.

And by coloring it now, when I do a second
take, I'll be able to differentiate

between my different takes and I'll show
you how that works in just a second.

So let's try another take real fast.

I'll do one more here,

and if I record that, I'll just start it
in roughly the same spot and read it again

immediately on a Newton. Yes.

Philip Meter.

Philip Meter
I cannot explain this discrepancy.

Earth date is March 22nd, 2103

All right.

And there I finish this one.

Let's raise that level up a little bit
and also adjust the color.

As you can see, it's very easy to do this
and one recording will go right on

top of the other.

Each take just is going to stack up
as layers inside of the same track.

And just for fun, let's do one more thing.

I just want to punch in
and do one little recording right here of

just I'm going to have to say, can't
we use a contraction instead of cannot?

So let's just try one last thing,
which just this one line.

I'll move my play head
to that spot and record that

I can't explain this discrepancy

there.

And so there's my last take notice.

All of my different takes are here.

I'm going to change the color
of that one as well,

and you'll understand the colors
in just a minute when we go into layers.

So here we have our different recordings,

all of them sitting on top of each other
right inside the timeline.

I no longer need my microphone.

And now we can get busy and start
cutting these up

and making them work with the scene

now to see the different takes,
we're going to come over here.

And by the way,
why don't you join me on this

and you can have the exact same recordings
I have to work with.

We'll go to the next timeline,

which is number
three soundtrack with video recorded.

Go ahead and open that up
and you'll see it's the same timeline.

There's the recordings,
and this one has the track showing

we can choose
to have those showing or not.

I'm going to go ahead
and hide those in my index

just like you've already seen,

and now you have the exact same thing
I just was working with.

Let's zoom in a little bit.

Move your play it over this.

Zoom in just a little
so you can see it better.

And there we have the three different

recordings, different colors,
all sitting in the timeline

now to see the different layers
at the same time.

We just go up to the View menu
and turn on show audio track layers.

And by doing that now,
I can see all three takes

and where they are
and we can actually work with those.

And you notice that this gives me
the opportunity to line up the audio

and to work with these.

I think one of the things I want to do

is I'm going to make this upper track
a little bit smaller

because I don't really need

to see that now
and really focus on this middle section.

You can make it as large as you want.

This is your timeline
to make it as large as you want

so that you can really see those.

And one of the things we're going to do
is we're just going to line up

the timeline that we're going to line up
in the timeline, the different takes.

You can actually see
where they're repeated. Right.

And then we're going to split them up
and then move them to the right position.

So it's very to work in layers.

Now, this is all within one track,
but all you do is just drag

a clip to the upper layer
and that's the one you're going to hear.

If I drag this yellow one up,
I'm going to hear that one.

So you always hear
whichever take is above.

So right now,
I'm going to listen to this first take and

let me unmute my playback
so we can hear that and solo this track.

Amelia

Okay, let me try that one more time.

Emily on a new tune.

Okay, So you can hear that first take,

so you can move these around
however you'd like.

Let's go ahead and stack them up yellow,
orange and then apricot for a moment.

And I would like to go ahead
and split these into chunks,

because now that we've got these stacked,
we're going to break these

into the different parts
and move them to where they belong,

because that's what we would do
create our comp

or a composite of different takes

and then move the best ones to where
we need them to go.

So very simple to do this, I'm
going to just zoom in a tiny bit more.

So lots of space.

I can really see my waveform
and let's come in here

and I'm just going to

by dragging one of these, notice
how when they overlap, you can really see

where the waveforms overlap.

So I've lined these up pretty nicely

and what I want to do

is I'm just going to make a split here
between these first two.

Now to split your clips or to edit those,
let's first

select them
by just dragging across those clips.

And once I've done that, I come up here
and you have your eraser tool.

It's this one right here.
It looks like a pair of scissors.

The shortcut is command B for blade.

It's easy to remember
and just click that once

and I've now split the clips
right here for that first section.

Let's move down and split this next one
again, select the clips first and split.

Do that one more time so you can do this.

It's very just pay attention
to what you're doing.

No problem.

Now, for this last bit,
I'm going to try to use a different tool

to cut the next section,
and we're going to actually

use the range selection tool,
which is this one up here at the top.

You can see that's my range selection tool
and you can get this.

The shortcut is R for range selection.

You get to your arrow tool
and this one goes to arrange selection.

And what that will do
is that will allow me to select a range.

So we're going to do is create
a range that goes around

the apricot clip at the top
as well as the others that we go.

And by selecting that range,
I've now separated

all of those different takes
by just this little section.

And then to split those,
just grab it and pull down just a hair.

And what that did was it just split them
using the boundaries of my range.

Now the range selection
is very functional.

It has a lot of different uses.

This just happens to be one
that's useful for editing.

So if you ever have to go into the middle
of a clip and edit

something, just select it
with that range selection tool.

And there you have it.

Let's go back to our Standard Area
Arrow tool

and we are ready to move these around.

I'm going to hit shift
Z to fit this to the window

and we'll show you a couple of methods.

Now that we've cut these into bits,

I want to show you a couple of ways
to move these around.

I'm just going to make this track
a little smaller

so we can see the other clips here.

And if I want to move this,
one of the things we can do is just select

across both clips and manually
drag those over to the new section.

Okay, That's one way.

But I want to show you, you can also
do that without being in layers.

So let's go up
and turn off our track Layers

Uncheck under the View menu.

Just turn off show track layers and
we can also move this by just dragging.

Now, if I grab the top of this clip and
move it, I'm only grabbing the top layer.

I'm going to undo that command Z
and instead I'm going to just drag across

and that will select everything
in that layer and then I can move that.

So I will move that.

Let's try that one more time,

drag from the middle
and I can move that into position.

So the idea here

is we're going to take these stacks
and we're just going to move them

slightly across and move them right
where they go in the dialog.

And you can obviously see
based on the disabled clips where they go

and then I'll move this one as well.

So even though I have a stack of multiple
takes, I can move them around

as if they were an individual clip,
as long as you understand how that works.

So now we have these all plugged in.

As you can

see, the last step would be choose
whichever take you want to use.

And in this case,
I like the takes that I have.

But if I wanted to change the take,

I would just go over to view show
audio track layers.

Here I have my layers and let's say
I want to change this one take.

I can just drag it above Phillip.

Me and then I'll be using that
take instead.

So it's very simple.

Go ahead and try that on your own system
if you're following along,

and then once you're happy with those,
we will move on to the next step.

So once we have those set up,
let's move down to the next timeline,

which is where we're going
to get into our dialog editing.

I'm also going to turn off my audio
track layers,

and here we have our timeline ready

to actually start with the next section,
which is our dialog editing.

So we have all of the clips in place
and all we did.

If you are keeping the same timeline
and following along,

just go to your index and make sure
all of your tracks are showing.

Okay, so we have our disabled clips above,

we have our main type dialog
and we have all of these other tracks.

It's time to now
focus on the most important part dialog.

Now to do that,
one of the things we'll do is

we'll solo
these dialog tracks in a minute.

The other thing we need to do,
and this is a step you absolutely have to,

if you're doing dialog editing,
if you really want your sound to be good

and it can be whether you're working
with a scene for a narrative,

if you're doing an interview,

whatever happens to be scripted
or unscripted, if you have multiple people

talking on screen,
whether they're sharing a mic,

they have different mikes, is
they all need to have their own track.

And that's
just something that we need to do

so that we can treat each voice
individually.

So right now
we have two tracks that we can use.

We have Ada on her own voice track
and we have dialog, which we can turn

into one of our character tracks.
Let's add one more track.

We're just going to right
click Choose, Add tracks,

and then we're going to choose.

We just need to add one track.

Let's make it below dialog.

That's fine and make sure it's a mono
track and choose add tracks

and it will place it
right where we want it.

Now, if you accidentally create
a stereo track sometime

and you need to change it
from stereo to mono, that's easy.

Just right click the track header
and come down here to change track type

and you can change it.
So that's not a big deal.

So now that we have three different tracks

for our three different characters,
let's make sure we name these properly.

We'll go to this top track first
and I'm going to change it from dialog

to a million to

and then the second track will make

for Phillip.

P h i l i p.

There we go.

Phillip So once we have
our tracks made for our characters,

then comes the most important part,
the next most important part, which is now

moving the clips to the associated tracks
for each character.

So for example, let's bring up our meters
so we can actually see the video

and we're going to start
moving these clips into tracks.

Now, there's different ways
that you can move the clips.

The thing you have to really focus on is
as you're moving this, this is sync sound.

There are people talking with these.

You got to be careful
not to shuffle them from side to side.

And luckily the Fairlight page has a lot
of different ways that we can get there.

So let me show you

a few of the most common techniques
for moving your clips from track to track.

Let's start with this first clip here,
which is where Phillip

first enters the scene
and we need to move this down

and to move this clip, we're
just going to hold down the shift key.

And by holding shift,
you can just drag straight down

and it will not move at all left to right.

So this will restrain the movement
so that you can get it right to the track

you need.

And that's great.

It's a little bit manual,
but it does get us there.

I want to zoom in a little more.

So let's just zoom in
and let's look at this next shot.

And by the way, this makes sure
that the clips match whoever's talking.

So this is where you see Phillip again.

So we want to move his down now.

This time, let's use a shortcut
from the edit page for those of you

who might be editors.

And that's just hold down the option key
and press that down Arrow

and that will automatically drop
something down the track.

So we were able to move it
and you can move it

multiple tracks if they're available.

So that was easy.

Now let's do one more.

We've got this clip.

Let's see it identify the
okay that's familiar on it.

So we're going to keep her
there. Let's move on down.

Notify the person.

Okay, That's her again.
Let's see. It allows it.

And now we've got Phillip.

And I think Phillip is then zoom out
a little bit.

I think Phillip is then
the next few clips.

So to move multiple clips,
I'm going to select this one

and I can select multiples just by command
selecting like we've done before.

And then to move these down
to another track, it changes horizontally.

One of the things we can also do is
we can cut and we can paste,

just like you would in a word processor,
the exact same shortcut you used to using.

So command C, command V, command X to cut.

So I'm actually going to command X
and cut those clips.

You notice that they became ghost images
and then by just selecting

the track itself, it
automatically moves those into that track.

So it could be a track anywhere
in that timeline and I can move to it.

And then the shortcut would be Command V
and it'll paste it right into that spot.

So it's a great way to move
lots of clips at one time.

So based on what I've shown you so far,
let's get those last couple of clips.

Hold. Let's go.

This is his let's move that one down

and make sure
now this one happens to be layered.

I'll move that down this way.

Let's get this last one.

Data a million and then he's got one.

What? What? So let's move his down.

All right,
so now that we've done this work,

I'm going to actually delete the million
A that we don't need.

The old ones
that were recorded on the set.

You can delete those any way you want to

add something else.

I'm just selecting them and deleting them
because I can.

And then what we're going to do
is also color

these because it's nice again
to organize your elements.

I'm going to make Amelie on a track.

Let's make her track Orange

change Track Colored Orange.

We'll make Philip's track Yellow

and we will make the computer's track.

Let's go with like beige, for example,
or something like that.

And the reason
her clips did not turn beige is,

if you recall, I colored the actual clips
when I was recording.

And when you color a clip, it overrides
whatever track color you have.

So in that case, I can select these
and I can make the clip color cleared.

And by doing that, I
no longer have a specific color on a clip.

It's now taking
whatever track color I have.

So that does work in your favor.

For whatever purpose you have
for coloring, you do have the ability

to override your track colors
with clip colors.

So now we have performed
what's called a checkerboard edit.

Now, if you didn't finish all of those
steps or and you want to just jump ahead,

if you go to Timeline five,
you'll see that

I have the exact same thing
already done here.

And you have caught up.

Now this is what a checkerboard edit
looks like.

This is done, like I said, in all types
of video projects or film projects

is we split everybody
up to their own tracks

and now they can all be treated as
individual tracks and individual voices.

Now, one of the nice things about this
checkerboard edit is

you can actually go in
and we can zoom in and really focus on now

the sound for each track.
And one of the things I like to do

is let's move to the
beginning of this section.

Let's go ahead and move to

round 2120 and let's
look at another way of navigation.

Instead of just manually dragging
our play heads around a shortcut

that's used by editors
all the time is your J, K and L keys.

You just take your right hand,
put it on your keyboard, the like, place

forward, the jerky place back will stop.

And if you put them in combination,
they'll move in slow motion,

forward or back so I can play forward,
scrub forward, forward or back.

And if you hit them multiple times like
the like I go and fast forward or back.

So they're very useful

for really scrubbing through your material
and finding a particular point

in your timeline.

In this case,
I am right here and we're going to

move over and listen
to just a few of these elements.

I'd like to zoom in a little bit
more to the timeline,

and I'm going to show you another method
for playback that we have.

And let's go back to our Timeline Options
menu to get there.

And we're going to turn on fixed
play head, and that's the option right

there at the top that says Fix play head.

It looks like a play head
with a lock. Click on that.

And what that does is it actually locks
the play head in position.

And now all of the clips will scroll
underneath that.

And it's very useful
when you have a long timeline

so that you can really focus on
what's happening.

So I'm going to start playback
and we're going to listen now. To

identify the

person in front of me,
a million and Newtons.

Are you sure?

Yes. Okay.

So you can just scrub the play head
underneath it

and you can see that's how it works.
So it's very useful.

And this way you can actually start
listening to your dialog, listen to that

checkerboard edit, and you can really hear
if there's an issue,

you'll catch it right away.
And this is where you can

now start focusing on little issues
that are in there.

You can even solo those tracks as you go.

So that's where we use the fixed play
head.

I'm going to go ahead

and turn that off, go back to timeline
options and select that.

We'll turn off our fixed play
head for now, and we're going to work

on a couple of very specific issues
that we have on our clips.

So, for example,
the first thing we want to do is

remove this hum.

Now you're wondering where is the hum?

It's one of these markers
that we have marked here.

I can see it right now
because it's this clip that has this

giant thick signal right there
if you're not sure how to find it.

We also had that marked in our index.

If you remember in the marker index,
we had a marker that said remove hum.

So that's one of the things we can adjust
right there.

Go ahead and zoom in on that.

So you can see right
where that position is.

I'll hide my index
and to remove the hum and let's

just play it first
so you can really hear it.

I'm going to actually make this clip
a little louder

just so you'll hear it in playback
on my system.

Yours.

You'll probably hear it yourself
if you have your headphones on.

The high play core.

And can you hear that little hum?

It sounds like a background sound
and that's really annoying.

You're going to catch that and go,
What is going on?

It's not background noise, it's

actually a hum that's right there
contaminating my dialog.

So to fix that,
we're going to go over here

and use one of our effects
that's here in the effects library.

Just click on the effects library
to get there

and we're going to go
to our D Hummer effect.

And it does exactly what it says.

We're going to just take that.

And when you're working with our effects
plug ins, one thing to remember is

the plug in can go on the track
or it can go on a clip.

You can have unlimited plug ins on a clip.

You can have up to six per track.

In this case, it's only one
clip and Phillips track that has at home.

So let's just drop it
right on to Phillips clip

and then we go, I'm going
to hide my effects library,

move this over again.

Just adjust as needed with your interface.

I don't need to see my meters that big.

There we go.

And this is what it looks like right now,
is this is our plug in user interface.

They're different for every plug in.

Very self-explanatory.

And this sound that we're working
with is a power line. Hum.

Now I'd like to make it
so we can listen to this over and over.

So we're going to go back
to our range selection tool.

And when you get the range selection tool,
just click on that clip

and it automatically sets in and out

points around it so that we can focus on
just that one section.

And I'm going to turn on looped
playback as well,

which is this button right here
next to the record button.

Just turn that on
and when your loop playback is turned

on, we can then loop that one section
and listen to it

as we're making adjustments on the
plug in.

Let's go over here.

So that's for loop playback.

And what we can do is
if to start the loop playback,

we're going to use the option key
and the forward slash.

So that's also right here.

You can find it in over here.

This is where we play around
and your loop playback is play

right in here somewhere,

which I'll find later.

So here we go.

We're going to do our loop playback.

Just option and forward. Slash.

I believe this.

Is where we can hear that section.

And then if I want to just hit this power
line home,

if you're in the United States, it's
going to be 60 hertz home.

If you are in Europe or elsewhere,
it's going to be a 50 hertz hum.

So it helps if you can find which one.

In this case, it's 60 hertz,
then I'm going to just adjust the amount.

And you notice that you can see
the graphics show

that I'm adjusting that amount.

And then during playback, like here,
we're just going to dial that down

until we don't hear it in Human. Cry.

When I think it's pretty good
trying to stop playback.

You can also, by the way, switch these on
and off by just clicking this bypass

and by turning that off
and on, you can hear it with and without.

So I'm going to start loop playback again.

So that's option in the forward slash

core.

That's just without the hum remover.

You can really hear that difference.

So that's great. I'm
going to close this up.

Let's go over to our inspector
for a minute.

And when you're in your inspector,

if you have a clip selected,
you'll see that it will show you

any of the effects
that are applied to that clip.

Here it is.

So if I need to make an adjustment
to that,

I can come over here
and just click on that.

And that way I can see what I've done
and make adjustments any time.

So just click the button right here.

That is your customizing button
right there

and that will allow you
to open up the interface again.

And one other thing we can do,
which is kind of nice, is

if you want to see what it looks like,

as you notice, it still looks like
there's an issue with this clip.

If you want to.

I'm going to go back
to my error tool for a moment

is when you select
a clip, one of the options you have is

you can just listen to it
and you can see that

the blue gone,
but you can also click on that clip

and you can choose
to cache the audio effects.

So if you have several plug ins on there,
maybe there there

processor, heavy plug ins
and you want to just cache those.

So it's then going to play the cached
version, just choose cache audio effects.

And when I do that, notice it's
now showing me the exact same clip,

but now I don't see
all that sound in there.

If I look over here in the inspector,
it shows me a little hard drive

right there.

You also see it on the clip itself
that shows that

the effects have been cached,
but I can still open this up any time.

I can still make adjustments and it will
automatically re cache that for me.

So notice it shows it.

It's going to re cache it once I finish
monkeying around here, I close that up.

You notice that it just recast it for me

so you can still change
as much as you want to.

This just really helps your processing
this case.

The D home is not going to slow me down,
but if I was working with more processor

intensive plug ins, I could definitely
utilize the caching there

when I hide my inspector.

And so we've done that.

We have one last thing we're going to do
and that will be the end of this section,

and then we're going
to get into more of our dialog.

Editing is what I want to do
is we're going to come over here

and we need to look at our index
one more time.

The last thing we had here
was replace dialog with another take

and this comes up all the time.

So let's go ahead.

And now that we've seen this,
let's go to that marker.

This is what it's pointing to.

We're going to hide my index
and I'm going to zoom in on this section.

You should be pretty good
at zooming by now.

And let's focus on this particular clip
right here.

And I'm just going to
play this and let's listen.

Goodnight.

Okay.

So he says you died
and this is a very serious moment.

This is probably one the most important
lines of the entire scene.

And if you notice, there's
a little creek in there.

It's right in the middle of his dialog.

It's not something I can really deal with.

And it's it's messing up the entire take.

And it's one of those things
you could spend

some time trying to fix that,
but it's better to just go in and find

the exact same words from another take
and will replace them right here.

And that's what we're going to do.

So let's do this together.

First thing we'll do
is I'm going to move my play

head to the end of that take right here,

and I'm going to

get my range selection tool

you don't have to use,
but I'm going to show you a few features

that are built into the Fairlight page
that are very useful.

Go ahead, Mark,
with my range selection, too.

I'm going to mark an out point right
there.

Just go for is all I need.

We're going to come over here
to the media pool

and we're going to go find that clip.

And if you spill open the master
bin list, you're going to come down

and you'll find a section in here
for hyper

audio where it says files
for repair and replace.

That's what you want.

And inside of there
and we'll look at them in icon view.

It's the only clip that has video.

You'll be able to find it really easily.

There it is.

I've already kind of move the play
head to the spot.

We want. Remember
your Jay Canal shortcuts.

You can use those here to listen.

You guide to the take

and you can also zoom in more right here
in this preview player.

You can come over here.

It's at ten X right now, but you can also
go to, let's say, 30 times size.

If you really want to
look at your waveform a little bit better.

And here's that clip I'm using J.

K now, and I'm going to go and mark an end
point and Mark and out

there. MARTIN In and out.

They don't have to be exact.

We can fix that
once we get in here into the timeline

I just want to make sure
that I have that marked.

So now that it's marked,
what we're going to do

is we're going to just drag this clip
over to the timeline.

Instead of placing it on Phillips Track.

I'm actually going to put it on a million
is track because it's empty right now.

And that way
I can compare the two waveforms.

So let's go ahead and grab that here
and we're just going to drag it over

and stick it and notice what it does,
because I had those out in and out points

marked is it's actually showing you
the range of what it is I'm bringing in.

I'm just going to line it up over
top of that clip anywhere and release.

And now I have it
sitting on top of the other.

Let's go to our Arrow tool and.

I'm going to raise the volume level.

One of the best ways to match your dialog
is make sure that it's similar dialog

volume levels
so that they will sound similar

and put my play head over this and zoom
in a little bit.

I can also hide the media pool.

We don't need that right now.

So now we have a pretty focused view here
and we can drag this back

and forth easily to try to line
up these waveforms, which is pretty good.

One of the other things we can do
is we can nudge

and if you ever want to nudge,
that's just using your comma

and period keys
and that moves a frame at a time

or again, you can just drag
to where you need it to go.

Now, we're going to take this one
step further and we're going to go

to a different editing mode
and we're going to come up here.

Let's go to our timeline menu

and we're going to choose layered
audio editing.

And the reason we're going to do layered
audio editing is this allows

you to do audio layers
even when you're editing Eclipse together.

And this is very useful because then
you can put a clip on top of another

and see them both at the same time
to compare the waveforms.

So let's turn on layered audio editing

and watch what happens.

By the way, right now this clip is orange
because it's in Amelie on is track,

which is orange.

Let's right click
this and change the clip color to green.

And the reason I want to do
that is otherwise

when I drop it into the other track,
it's just going to turn yellow

and I want to be able
to see both waveforms at the same time,

adjust your zoom level
as much as you need to to really able

to see the different waveforms.

And now I'm going to drag this down
into the other track and watch

what happens when I do that.

You see that
I can see both waveforms at the same time.

In layered audio mode,
you can always see a transparent image

which allows me
to totally line up those waveforms.

And if you're wondering what my goal is,
I'm looking at the continent sounds

the wave patterns,

because I'm thinking these constant sounds
where he starts the next word.

We'll see the lip movement
that will match that.

And so that's why we want to make sure
we line those up.

So I think I've got this pretty good.

If I'm not sure,
you can always click and start

dragging again and in layers mode,
you'll be able to see that.

And I think this is probably going
to sound great.

So let's move back over here and play it.

You died.

It looks good to me.

So we just replaced one word
that was unusable

with another line of dialog
from a different take.

And as you can see,

we utilize the different tools
that the Fairlight page has to offer

to really make that work. Great.

So let's save your work
if you haven't done that.

And what we're going to do
is we're going to this is the end of part

one of this tutorial where we really get
our hands on the different parts of

the interface and just adding some tracks
and making things.

In part two, we're going to go and
take our dialog editing a little further.

We're going to work on balancing
our levels.

We're
also going to look at some other features

for mixing a little bit of sound design
and finishing up our project.

So join me in part to hopefully enjoy part
one and step through on your own

if you haven't
done that so far. Thank you.