Adobe Audition: Sound post-production for Film, Documentary, Interview and clips | Film VFX | Skillshare

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Adobe Audition: Sound post-production for Film, Documentary, Interview and clips

teacher avatar Film VFX

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

21 Lessons (5h 3m)
    • 1. Course Introduction: Adobe Audition Soudn post-production for Film & Documentary

    • 2. Workflow & importance of Sound

    • 3. Structure & steps to follow

    • 4. Adobe Premiere to Adobe Audition

    • 5. Interface and organising tracks

    • 6. Spectral Frequency Display

    • 7. Male vs Female voice in film dialogue or interviews

    • 8. Understanding frenquency bands

    • 9. Understanding frenquencies

    • 10. Noise Reduction: Inconsistent noise

    • 11. Noise Reduction: consistent noise Method 1

    • 12. Noise Reduction: consistent noise Method 2

    • 13. Noise Reduction: what stage & how to automate for several files

    • 14. Singe-band compression

    • 15. Multi-band compression

    • 16. The magic of EQ

    • 17. DeEsser

    • 18. To Normalise or not to normalise

    • 19. Mixing Music with vocals: avoid beginner mistakes

    • 20. Limiter

    • 21. EXPORT

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About This Class

Do you know why most film and documentary submissions to festivals get rejected?: amateur sound.

It's not enough to remove some noise and tweak the volume of music to match dialogue to call it Sound Post-production.

50% of your film, documentary, interview, or clip is Sound, and at least 70% of emotions are in Sound.

It's a pity to spend so much time and money on the image of a project that will eventually be considered amateur, of low quality, because of Sound.

You will learn professional Sound Post-production, even if you are a one-man-band filmmaker.

I'll teach you advanced techniques that are necessary, but I will simplify them for you. Techniques that will make you proud of your film project.

- I'll walk you through the workflow,

- how to take your Sound from Adobe premiere to Adobe Audition,

- the interface,

- how to organise your tracks,

- The differences between Male and female voices

- Spectral frequency display

- I will explain frequencies in detail

- noise reduction for inconsistent noise,

- 2 methods for consistent noise,

- and how to automate noise removal for several files

- Single-band compression,

- multi-band compression

- Limiter

- The magic of EQ

- DeEsser

- Normalisation

- and of course professional mixing of music with vocals

- before exporting your sound.

Let's make sound one of your strengths.

Meet Your Teacher

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Film VFX


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1. Course Introduction: Adobe Audition Soudn post-production for Film & Documentary: this is before. Yes. Ah, long term investment on this is after. Yes. Ah, long term investment. Let me show you something. Long term investment. I'm not the sort of person to be distracted by little gains. It's a long term investment are not the sort of person to be distracted by little games. You also have these nasty frequencies hidden in your recordings. It's not enough to remove some noise and tweak the volume of the music. Too much dialogue to call it sound First production. Do you know why most film and documentary submissions to festivals get rejected? I met their sound 50% off your film documentary interview or clip is sound, and at least 70% off emotions are in sound. It's a pity to spend so much time and money on the image off a project that will eventually be considered ometer off low quality because of sound, you will learn professional sound purse production. Even if you are a one man band filmmaker, I will teach you advanced techniques that are necessary, but I will simply find them for you techniques that will make you proud off your film project. I'll walk you through the workflow. How to Take Your Sound from Adobe Premiere to Adobe Audition. The interface. How to Organize Your Tracks, the differences between Male and Female voices and How to Deal With Them Spectral Frequency display. I will explain frequencies in detail, noise reduction for inconsistent noise, two methods for consistent knows and how to automate knows removal for several files. Single band compression, multi band compression limiter the magic off the e que di essere normalization and, of course, professional. Mixing off music with vocals, avoiding ometer mistakes before exporting your sound. Let's make sound one of your strengths. 2. Workflow & importance of Sound: first things first we start with the workflow. Let me ask you a question, please. Do you accept to have your surgery done by a dermatologist? Now, these are two completely different specializations. Editing is one thing and doing sound. Post production is another thing. So you cannot use the same specialized software in editing for sound post production. Let me go back now to your editing phase Here I have other. We premiere. Now, if you are using Adobe Premiere or actually any editing software whatsoever in any video editing software and you want to start working on your sound first production, I invite you to do all of that. In a specialized software, you cannot have a proper professional sound burst production done in an editing in a video editing software. Yes, Adobe premiere and probably other editing Softwares. Other video editors off rest do give you a few tools that give you the impression that you could do everything and this is exactly the problem. And actually, this is exactly what you get. This is all you get. You get an impression that you can do everything you can. You get the impression that you can do color grading in Adobe Premiere because you have no limited inside Adobe Premiere to give you the impression you could do color grading the impression he could do sound burst production there. Actually, it looks like it's is the answer to all the questions. It has never bean a surgical questions, and I don't think it will ever become. It is an editing video editing software. Yes, we think it will be very much for I didn't a few bells and whistles, a few tools for color grading for sound purse production. These could be used for minor tweaks. But when we talk about your proper soundbus production, if you have your own project or you have something that you need to deliver for theatrical release or you need to send something to the television or you need to some something, send something to the to your client. And as I said, even if it is your own project, like for yourself for your portfolio, it needs to be done. When I'm I'm talking about the Southwest production. It needs to be done in a specialized software again. It doesn't matter which one you choose. I know here we're talking about Adobe Audition, but 99 common, 99% off. The techniques we are addressing in this course apply to any other professional software. Because only at the amateur level that you lose the consistency. All the professional level software's pro tools, adobe audition, even the free open source, even even audacity they do have bite it by by professional, I mean dedicated software that is dedicated for sound post production. They have the same techniques, the same tools. If you talk about compression, it has five para meters. It doesn't matter where you go. In any software used, it is the same 54 meters. It is only a matter level that simplifications introduced by developers off the software ruined Dad consistency and start giving you some thanks to dragon drop and then give you the impression that something is going well that you are actually working on your son s production. Okay, so I hope I clarified that if you're doing you're editing any software, thank you very much for that software. We finished the editing phase. We're going to move to the next phase. The next phase is going to be both and at the same time your sound burst production on your color grading. This is why I have here a, um, arrows that take you from premier to that to WG and just talking about DaVinci here. Whether it's mostly here for the color grading, there's a there's a lot. I have another course on DaVinci resolve. What you get from premier is only one track or video that goes into your color grader. What you get from your sound first production sweet. Whatever that is, is only one track, and then you move to to the exporting. Initially, I mean depends on how many people are working on the project. You could be working at the same time on sound on color grading. All right, but one thing is absolutely sure You need to reach what is called the picture. Look, this concept here is phenomenally important, and it's a level of discipline that we need to maintain all the time. Let's me talk to you about that. What's picture? Look, picture looks basically you're you're done editing. Okay. There is a tendency a very, very bad tendency to keep improving. Now we know that every time you wake up the following morning I think. Well, I've got an idea, actually, that I moved that one that way. Said I was gonna look better. Yeah, and you keep improving every day And guess what? Your project is never going to see the day. It will never see the light. You will never release it because you keep improving. And our person, actually, who has been working on a project for a small project for two years, just the editing, because it's getting better and better and better. And the only problem is that person is the only person who sees the doctor did not project . No one else has seen it yet. It's never been released. And by about the time you reach two years, honestly, it's kind of outdated, right? So perfection is your enemy when it comes to working. I mean, in every single perfect is the enemy of good. But in this particular case, it is very relevant. When you want to reach picture lock, you are about 95% off what you want. You reach 95% off what you want to achieve. You stop there. You lock the picture and you move on that extra 5%. That extra 1% to reach what you think is perfect is gonna be so costly. Do you know how much that is? How cost there is? I'm gonna tell you across traitors. It is not only going to delay this current project you're working on worse, it will delay the future one. So your creative career is being delayed by 1%. 5%. The next project is not going to start until this one is done. So everything else in the future is being delayed. That's how badly costly it is. Okay, we close now to talk about picture lock. We understand that as you have a date for delivery, I hope you do have a date for delivery off your project or launching it. If it's your own project and it's the date for the deadline for for luncheon it if it's your client television or theatrical release, then these have specific days for delivery. Okay, as well as your delivery date. I would expect that on your calendar, you're going to have your picture lock date. It's a date. Yeah, it's It's a specific date. When you think well, releasing it is gonna be safe for example, um, on a particular date and then say 30 June. Okay, 30 June on you want? You know that from experience you need at least amount of purse production. Okay, I'm saying both production. I'm not saying editing, right. I'm saying burst production off everything. Then based on your project, the number of people involved, whatever that is. Visual effects work. If it's just a month, depending on how many people and under how long it will take. If it is well, let's simplify. Keep it in a moment. Then you are going to look it by the end of May or first of June. Okay, looking, it means you don't come back on the 10th of June saying on and actually we're gonna change that one holding moments. People are already working on color grading, people already working on the sound. You cannot change the picture because if you do change the picture, they have to or you. If it's one man bound doing all everything, you have to redo the whole work again. Don't take this as an excuse and say where I'll see. If I was working in Adobe Premiere, I wouldn't have worried about that Because it's all inside the same timeline. Okay, But you still you will. You will remain remain limited. Yes. You get that advantage off keeping changing everything any time you want, what is gonna be limited? Also time. And actually, even if you want to move outside, you're gonna have to do the work again. So picture, log, picture, lock, picture, lock. And I don't know how many times I need to repeat that, but hopefully you get the point. Big picture. Look cool. Now, have you noticed something? Um, you're gonna find the somewhere in Internet. You see that? Oh, the workflow between Adobe Premiere on DaVinci. Other will premiere on the audition and the divisions, and they talk about going back and forth and didn't think were holding a moment. Is this some sort of a joke going back and forth? Do you notice that the arrows here on the workflow are pointing in only one direction in appointing backwards? You go from premier to grading, and then you come back to premier and export. What kind of a joke is this? Let me tell you why this is a joke and actually a very bad one. and it's costly as well. Everything I'm talking to you is costing you something. So this is why I'm giving you tips to avoid paying from your time they in from new quality . In this case, what is bad about coming back? And I'm talking about the whole workflow. Yes, I know this is Adobe Audition, but I need to get your whole project right When Good. When you're going to export something from Premier, you get just a video track that goes to Da Vinci and you go and you get the whole sequence that goes into, I mean, the whole sequence with sound that goes into with one videophile that goes into audition. And then what you get is one soundtrack and one video truck, and then you do what you do. You don't come back and why you don't come back Because coming mark means in code in on your absolute worst end me is encoding, is it not? What makes you tube videos? Rubbish. In terms of quality, can you take a YouTube video too? Theatrical release. It would be a disaster because these are compress videos, compressed footage. What? It's brilliant for what it does it came as a solution. Say, Well, how about we stream video? That's how YouTube start the stream video, but we're gonna lose some of quality or a lot of the quality. But then the user's gonna be able to see it, and it will play smoothly. That's the idea about about YouTube and any other streaming, um, video platform. But that took a lot of encoding. So much incurred in that is called compressed, which basically means losing from compression is losing information. That's all it if you're going to encode it, say, for example, you got on. This is a big mistake going from Premier to da Vinci. And you, um, you are included, which basically just given, like, encoded first to give it to the Vinci and then once you're great, you encode it again to give it back. That is an absolute disaster. You cannot do that. What you need to do is take this soundtrack on this video track, not from premier and code in. So if you ever use the export function off from year, you're doing something terribly wrong. I mean, exporting the video, you are doing something terribly wrong. I'm talking about the Devonshire. It okay? Because davinci needs to read directly from your suit. Source footage. It came row fresh from the camera. That is the fire you want to link to. You should not, should never work on the company encoded footage. And it works directly on the coming on. Native file on it pushed it further to the best quality exports. So you encode only ones with the Codec that you want for delivery. Okay. The high quality Codec. Good. Now sound. The sun part for out of the audition is quite simple. We need to clarify something's Please. There's something about the whole shuttle and budget that is terribly wrong. And that makes the most video productions. So visual audio visual productions, most product that you see are rubbish. For simple reason that you see, most submissions to festivals are rejected and one of the big reasons is sound is rubbish. But why do you think sound is rubbish? Because not enough attention has been given to sound. Now what do we mean? Attention? Is it like yes? Okay. Okay. Okay. You've been talking so long and you told me it's important. I get, I get it. Let's move on now to have to do it. No, no, no, no, no. We're not moving yet. I need to see it in the shed. Well, first, not me. Sorry. You need to see it into shadow first. Did we talk about an example for month of birth production? Okay, let's split it now. I said first production. I'm assuming you don't have any heavy visual effects or anything that would involve nuke. What a compositing You would involve Houdini Meyer stuff that is a different world. Okay, what if we focus in on Lee on, say, two D? I don't have any visual visual FX. Then in that case, you are gonna have one month, for example. So this is what what we know. This is, you know, get any film, any film whatsoever, switch off the image and just keep the sound. Yoga noticed that at least 70% off emotions live in sound. So your sound is way more import is much more important in every single respect. It is much more important than the image. Yet we spend 95% or 99% off the time on the image we spend so much time editing, and then we say, Okay, fine. We either work on limit tree and then a lot of time color colorizing there color grading, which is actually the wrong waiter. It's a fast food. It's like it z an unhealthy fast food option limited. You need to go to the proper restaurant. That's nothing to you. And if you happen to do that, you're gonna think what other moments? Yeah, I've done. We have done the the editing on the color grading. And you've just spent 90 95% off your time off your post production time on the image and you left with a couple of hours for sound. Okay, wait. When he just increase the volume and reduce the volume off the music to make short of dialogue is clear and will hold a month. You've got noise there. We need to de noise. Okay, we're done. That is not sound. First production. All right. Professional sound. First production involves a few tills, a few techniques that will talk just right off the This, uh, this lecture, we'll talk about that. I take you through all the lip or the list all the compulsory or the It's How can I? It's something. If you don't do it, you can call it sound prospection. Okay, so it's not just volume. Andi, uh, you know, is in. That is that's not sound suits soundbus production. So let's come back to your month. You said we have. We said we have a month, right? So if this is at least 50% let's say 50%. So this is gonna be two weeks, right? I know, I know. It sounds strange already. It could be a bit shocking. I know. So you're editing is one week. Your color grading is one week if it's a one man band, but it helps in this case to get get the one man band perspective so that you clearly see the percentage is going to spend quarter of the time one week on it, in court of the time on DaVinci and two lovely weeks in Adobe Audition. And then it may be thinking, Hold on a moment. What will I be doing in two weeks when a window and so far I could handle it in 1 to 3 hours, maybe half a day? There's a lot to be done. You need to do an EQ. You grade for every actor. What? Sorry. What is that like? A great That's exactly what I'm talking about. I'm talking about professional sound. First production it is are not nice toe Have these are most halves? Okay, if you don't do it, don't. We can't talk about some production must have that we need that I need to take you through so that your project stands out so that when you submit your sound just sounds great. Okay? Right. So now we have clarified the workflow, the importance of sound. We're going to move to the next section where I'm talking about the structure off the steps that we will talk about. Please do not look at the next lecture as kind off a traditional bureaucratic way off talking about the steps. Absolutely not. I'm giving you the exact shade wall, the exact things to be done during those two weeks. So when you talk about soundbus production, I'm giving you the exact se sequence of events on which one should come before which other and what you should do. And you'll notice that probably two weeks is not enough. Ok, so we'll talk about that in the next lecture 3. Structure & steps to follow: Now let's talk about the structure off. Is it the structure of the course? It is most probably the structure off the best production process that you're going to go through for your project. OK, but it's also the structure of the course. All right, so we have talked about the work front and on the importance of sound. I wanted to make sure that I address this one before even talking about this structure. OK, we have already talked about the work phone importance of sound. The next that is gonna be how to move your project from Adobe Premiere to audition. And the 3rd 1 actually moving from Adobe Premiere to audition is is quite simple. But I liked him to show you what you should not do. There's something you shouldn't do to make to just to avoid I'm redoing the work again. There's one little mistake on tip. I want to to show you on number three is there's gonna be and I will introduce Adobe Audition. Of course, if it's near for you in terms of interface and everything, but it's not gonna be like the traditional classroom style introduction toe adobe addition . It's more like this is It's more like a workflow based introduction. OK, and I will show you the two different ways off a blind effects. Okay, sound effects on when I say sound FX. I don't mean explosions and stuff. Dessert. This is sound stock. I'm talking about effects as in whether it's noise compression e que ds or limited normalization. There are two places where you can apply the men adobe audition, and it makes a huge difference where it is. So you better know exactly where you put them so that you have If you decide to change him , if you just. If you change, decide to change your mind. Then you can on do it and in one case, but not in another, right? So I just show you that way. The second part, which is in yellow here, is the most important. Yes, I know that you're attempted to go straight into the third part and you think, Well, that's looks like a nice checklist. Inconsistent, always consistently his store for introduction, compression stuff. Let's go to that one. No, the most important part for your way off thinking the mindset, starting to think in terms of frequencies instead of thinking in terms of volume. When I'm using the word volume because that's the closest one. When a big in the stars, that's the one that you have in mind. And then I think, yeah, actually, volume is is really amplitude. Then you start using the word amplitude than it and then we can accomplish is actually about the DBS decibels. Okay, this level of them and we talk and we go in all the wrong route because it started with wrong with the volume we need to start. Yes, we're going to change Deby's. We are going to change the amplitude. We're going to change the volume. But the starting point is going to be the frequencies. That's when the mindset needs to be frequencies on. To do that, I'll start with the introduction of this spectral display, right, versus what you can't find anywhere here. The way form. Do I show you here somewhere? Can you read it somewhere? Way form. But we know that sound. There's a visual representation of sound is no, that's not the way form. That's a spectral display. Yeah. So this is the point. Exactly. Way form is okay. It's useful. We can use it 10 20% of the time. 5% maybe for some, for some work. But most off the work consists off seeing your sound. Sorry, I correct this for seeing your sounds in plural. Because if there's a dog barkin that is in the middle of your own or your sounds, But you should be able to see that dog, Barkey, you should able you should be able to see the sound of the dog barking, not just hear it. I'm not talking about hearing it. Took about seeing it. How can you see it if you have the way form? That is exactly the point. So how can you d noise? A dog barking if you working with the way form, you can do that, can you? Right. This is why were talking about frequencies under spectral display is in terms of frequencies. Okay, so the 2nd 1 is, of course, all frequencies on the 3rd 1 is frequencies. And the 4th 1 is frequencies. Because this whole thing is all about frequencies. I need you to be thinking in terms of frequency through the second point was what the difference between male and female voices. Now we are talking about a nominally important numbers. They're gonna be some numbers that we're going to mention on. Don't do that just next and not in the difference, actually. But in the voice the moment we say human voice, we need to know where it is in terms of frequencies. If you know where it is, Didn't you know where it is not? And if you know where it is not whatever you find there, where the voice is not is noise. Okay, Now you can see noise in terms of frequencies. All right. The 3rd 1 is understanding frequencies using multi band compression and understand different in the fourth is understanding frequencies using EQ. You please do know if these are tools are new to you. The purpose is not my purpose in this yellow section here middle section is not to explain the multiple compression and I want you not to learn it of this stage. It's common later, multiple compression. Here, number five, it's coming later. That's my point. Here is quite simple. I'm gonna I'm going to grab two tools the multi band compression compression and EQ you Onley to explain the frequencies. You know what I'm gonna do? Just grab your favorite drink. Sit down, put your feet on the table and listen to three and four. Don't do anything. Don't try to even understand the motive and compression because I'm not gonna go through that. But I need you to understand the frequencies using the multiple compression, and I'm gonna do it again with the Cube and my repeating myself. Three and four. Absolutely not. We are doing two completely different things with 300 for three. We're gonna be talking about space. See, Thick. Um, sorry. Number three, we're going. We're going to be talking about Rangers bounds talking about rangers off frequencies. Not just specific. One in number four, we're gonna be talking about specific frequencies now, why should you even talk about spirits? Specific frequencies? Because I will show you Onda let you here in your own recording, whatever that is. Fiction, feeling, documentary interview or vocals. What? Whatever I will make you here in your own recording stuff you didn't even know existed. Nasty things. Well, not just the North Sea things that should also the good things. That's why the idea is to remove the rubbish on to improve and embellished the good stuff. But this is what the CQ is for. Okay, but also the compression. The idea now is just to understand the frequencies. If you get them, the rest of the tools are a piece of cake. Okay, this is the most support, but don't skip it, please. And then we moved to the third part, which is how to do it. Now this yellow one is why. And this is how and then you think. Okay, I see blue, yellow, green. But you've got something in red hair on come into that. So we have a list here. What you see here is the exact sequence off event. I am suggesting you take If you are already a professional that I don't think you you need this work for. You already know it. If you just moving from pro tools, the audition, I think it's going much easier. I'll take you through the probation interface and we talk about all the tools in Adobe Audition. But if you're a beginner, please make sure you stick to the sequence of events because you see Number one is about noise. Number two. It's also about noise. Number three is also about nice because noise the apse is the absolute first Think you want to do before you move any further, Wife, is it just a matter off year in makes sense. It's far beyond it makes sense. It's because if you come to them before and you do compression and you haven't dealt with noise properly, your compression is gonna make your sound sound worse. Is it the fault of the compression? No, the compression is already warning. You're telling you hold on a moment. Give me clean stuff. If you give me clean stuff, I'll give you beauty back. I give you great stuff back. Give me a rubbish. I'm gonna make it worse. This is not a rubbish in rubbish. Out. This is a small rubbish in very big rubbish out. Okay, so the sequence of events is extremely important. Then you move to compression and then you do ok. We have here compression, which is simple compression on the multi bad compression I might trying to confuse you hear ? Absolutely not. Number four actually is only gonna be used for explanation purposes. I'll show you, I'll tell you. Please don't use it now that you understand what it's beautiful for explaining its I wouldn't recommend you use it. A zoo. You're OK. Could be quick and dirty, but it's really dirty. I would really appreciate if you could treat your project properly with a multi band compression. That is really beautiful. Okay, multi Ben saw compression tool simple, his only for explaining when I moved to Monte Band. That's the one you want to use. Um, and we talk about compression again. Okay, The only thing I can tell you now it's good. It's not bad because when we say video compression, that's bad stuff. But they say sound compression. That's good stuff. Well, only when you feed it right, if you feed it clean, so clean that cleans out. Now we move to the next one, and we're gonna be talking about the limiter. Be probably the absolute most important basic think you need to have before you even think and consider sending any project to television is the limiter, because you could do your absolute best to make sure that levels never reached zero. But something could happen somewhere when you start out in a few tracks and Then when you add trucks of sand, they tend to be louder, OK? And you could go beyond the limit. And guess what divisions have. There are no means. Does not division stations have their technical delivery requirements. So we're going to get that number from the technical requirements sound. We're gonna put that number and the limit up. Okay, Number seven, The magic off peak. You could have said just the CQ which is Equaliser. So if you're just ah, small, beautiful needs way off calling it, um why do I say the magic? It's not just showing off the q and I really want you to see that is the tool that stand sounds from the whole suite of tools. It is gonna be your favorite. It's the one that's gonna open your eyes to a lot of stuff that you didn't know existed in your recordings. It is it is the one tool dot If it's this, you know, those acceptable to tell you what if you are left in an island and you would only have the choice to take one thing quickly? What would that be in this very particular case if they tell you you're left with sound place production And what would you take? Gonna be? The cure? Yes, I know you're talking about noise is necessary but the EQ You can help your reduce noise as well. It does wonderful things. You can go. It's a sculpt in areas like you want to sculpt something. Thank you. Is how you sculpts your sound. It's beautiful enough talking about it now. But I'm just preparing you psychologically to great stuff coming up when we talk about e que di essere is just one of their relatives. It's the cousin off the EQ. You It always needs the help of the EQ. You I mean, you can do it without e que but I'll show you a really nice way off working with the Di essere before getting information from the EQ you and then using it in two years. And then we moved to number nine. Okay, sorry, I forgot are here. I'm gonna change that, um, to normalize. Or so that's there's or or not. Or normalize. Okay. Um, you guessed it OK, You guessed it. There is normalisation. I could have just written normalization, but you normalize when you mess up really badly during production. So if during production your sound recordist has recorded two low sound level off the the amplitude is too low. Then you have your begging for trouble. Basically, you're looking for it comes a normalization comes to correct a problem that you have created yourself during production. Yeah, it's not something that it that is not a problem in the sound. It's problem in Have you have recorded sound? Yes, normalisation can be seen sometimes. And I'm talking about radio sometimes and radio. It can be as part of the process you need to normalize. But if you are talking about visual, visual or audiovisual projects where you have video, then normalization way Don't do that. You just don't do it. Professionals Okay, there are schools of thought. There are different opinions and stuff. But the majority of professionals do not normalize because simply they may look at you. Think what? Why did you not record your livers at the right DP level? So it is quite simple. You either You either have done it right or you need to normalize. Okay, normalize in. But I will show you right? It's not just about any new you should get it right doing production. I'll show you how to do that, because sometimes you are gonna need to normalize. And also you have to do it. But it's the last thing you want to do. And it has this beautiful two meanings is the last thing you want to do. Meaning you shouldn't do it. Sorry, you shouldn't. You should not need to do it on the other, meaning the second meaning is indeed in your list. It's going to be the last thing to do. You can normalize and then start doing your noise and stuff and whatnot. It's the absolute last thing to do, cause when you normalize, it doesn't change your dynamic range. For we talk about dynamic range if you don't know what that is. Later. Cool. All right. Now there is a secretive that's before jumping before going now, no jumping for Go into number 10 the red one. I want to go back to the here. The the debate before between debate about the sequence of events between compression and EQ. You do you do your EQ you first and then compress, or do you do the compression first? I'm dead to eat you. I know. I'm talking about some things that I have not even introduced. I have not even defined. Let me give you the piece of information and it will make sense when reached a point. Okay. Now, if you compress look at the compression. Just like in English. You take something and you're going to squeeze it physically exquisite with your two hands and you just compress it. If you do that, what happens to the shape of that? Think it changes? Okay. What did we say about the EQ? You? It's like sculpting. It's like you artistically sculpt in your sound. You can't mess up with shape off their sculpt in it. So first you get the shape right. Then you sculpted. That's why compression always needs to be before e que otherwise gonna have to do your eq You again. Okay. And I don't want to waste the last bit here. Okay, is music and it's beautifully in red to highlight the difference between a mother unprofessional. All right, I will show you a technique which actually is the way to go if you want to mix music with vocals, right? Are people talking and you think this scene really needs to boot to be boosted with a lovely background music and we already have an idea or we're going to score it. And when we score the film, we're gonna put the music there. And then when you put the music and you don't do any mix in, you notice that the music stands in the way that you find it difficult to hear what the people are saying. Yes, the music is very the loud and clear because why? And you're gonna know that actually, when it comes to the to the db to the level of film, Um, mustering the sound when you export music generally tends to be a ministry when you export other stuff. Sorry, no export. When you bring in stuff for vocals, it comes up minus 12 by minus 12 will never make it with ministry. So that's why music is always on top is always too. So that's why we need to make. But I don't want you to start playing with the key frames, right? We need to quit that technique. No raising the volume and a decent of volume creating key frames and then yeah, It's okay now let's bring the music a little bit down. Yeah. Hey, stop talking is bringing up. That is not the way to go. Now there's there's a technique that makes you keep your music clean, as is almost as is on. Your sound is loud and clear. 4. Adobe Premiere to Adobe Audition: If you are using Adobe Premiere, I'd like to show you how to take your sequence to Adobe Audition. And it has most to do with what not to do instead of how to do it, because I think it's quite easy, but still Altria how to do that. I will, however, want to draw your attention to a certain number of things that you need to know during filming. Okay, first of all, how do we take Adobe premiere sequence out of the audition? We right click here and there is edit Adobe. I did another tradition. Unlikely consequence. I will not do it now because I need to explain a few things. Let's come back to the sequence. What do I have here? I have my video. I've got a few titles here. And if you're the things and then I've got my soundtracks in here. Cool. Good. Oh, you have here a few microphones. Right? So in this scene we have, um when your film in, you're going to be using a few microphones. It's not just the boom pole. We're gonna be using hidden microphones. Okay. For example, for this scene of this, what intervention We have microphones hidden here closer to their footsteps. Okay, so we have the rumple we have that gets the dynamic sound like the beautiful sounding sound . And then you've got the hidden ones that get also the footsteps and one other one, another microphone closer to the door once they get closer to the door. So there are multiple microphones that you're going to get. And when you record in your external recorder, you will get each one in a separate track, which basically means it's going a separate file. All right, so what do we do with these? Which one are you going to choose? Why am I talking about this when I'm talking about taking your, um, sounds from Adobe Premiere Toe Adobe Audition? Is it not a separate topic? Well, it is a separate topic, but you may have made a choice already in Adobe premiere. And if you have already chosen the microphone because it's a matter of choosing your microphone, right, you may combine, But be careful with combining, because let me bring another scene which I think is gonna be a bit more. Ah, let me just check here. There's another scene somewhere. Here which is quite an important. Warned in terms off explaining what is going on. It's coming. It's coming. It's coming. It's almost there. All right, this one. Good. Okay, Now, this scene is a wide shot on in Lloyd. Shorter going to be using a broom. Pull a lovelier mike for the lady on the lovelier. My four, the child. Okay. For the child, you have at least three microphones. You may oft for another hidden microphone somewhere closer to the table. If you if she's gonna be like junction paper or something. And you want that sound as well? There is a lot off sounds that you want to take into account, and that coverage can only be done with the number of microphones. It's also means you're gonna end up with different files. I have year 123 So we have worked with the minimum, which is three microphones, One boom to love layers. Fine. Why am I talking again about this in here? Because you may have made your choice. And then your trust could have bean. I'm going with the bump. All because there is no noise. Well, you wish there's no noise because the boom pull in a wide short is gonna be much further from the scene. Andi, from the from where the actress are from from where the action is happening and when we say much further is your lovely sound recordist is going to increase the levels to be able to get more of their voices. But when he increases the levels, do you know what happens when you open the door? A lot of stuff gets him Not just what you want especially wouldn't sit with sound. So you are going to get more noise. This means that you may have a choice to make. Now that choice. Please wait on. Make your choice and adobe audition. All of saying is bringing all your microphones everything. All the father you've got in here they've got seeing brought in their fine bring everything , Put it in the timeline. Don't make her decision yet in Adobe Premiere. But if you have already made your decision, then end do that. Please. Just noted somewhere you know it is okay. Your decision could take the form off these Ebeling, the track star, not the tractor. The clip basically the track. It's what has been recorded is a track in the sound mix up here is the clip. If I come here and they say OK for this particular clip, I want to have the lovelier four but you can't have one level there for centuries, not when they're talking. One is closer to the other. You're going to have to go with probably the last four built. If the if the lovelier is okay and then I have to open another bracket here to tell you where the lovely is. You can't rely fully on them, especially if you have not paid close attention to the clothing of the actors. The characters start their factors in the field. The what would do the type off, uh, close that they are aware in terms off material, right? Um, the fabric it needs to be natural, like cotton or something like that. Otherwise, if it's nylon or any man made stuff, any manmade tech still is noisy. So you don't want back now if it's too late and you already have that in there, you're lovelier. Microphones are not going to sound great at all. This means you may be left with your boom pull the boom pool is opening too much. Ah, too wide a door for the noise. And you, Mace, come here and say OK, this is clearly a lovelier mike, and you can tell very easily The lovelier mikes are quite loud. Um, you can come here on duh and link them and say, Fine, I I'm going to go with this, which is the boom pole. This is a lovelier. So I just go back to my scene. This is a lovelier, So I'm going to disable it. This is a lovelier I'm going to disable it on. I'm going to stay. Just keep my rumple say, assuming it is the right one that this is now, this is what I do not want you to do. For a simple reason that if you take this sequence Adobe audition and you have already disabled a clip, you will not be able to enable it again. Which means if this could have been somewhere around 80% 90% off the film, you will have to go back to your timeline on a bullet. I don't drink it, Boxer Gene to audition. And that just kind of that's just a waste of time. Something to be a wear off before taking your sequence toe adobe audition. Just make sure everything is enabled. DeLay your decision for which microphone to go with two Where it makes sense to make your decisions. I specialized software for sound Best production. Now this one is clear. Out of the way. Let's come here and say enable I know I have here stuff that is disabled Just renewables again, This one I have disables. So this one I have also disabled. I need to enable enable Okay. No, it's ready to be taken to Adobe Audition. Quite simple. You just right click edit and then Sequels. As we said that comes at their local box with some quite important settings. I'm not gonna take you like traditional classroom style. This does this just started. I'm gonna take you straight to what matters. Well, you know the bath and you know what the name and stop you. That this stuffy you can decide for yourself of the selection here it's about your projects . Is the idea is quite simple. It's not about sequence in and out. It's a mindset. Do you want to do your sound your proper sound First production like properly. Okay, so we're gonna do everything, Not just in and out. It's not about taking okay for that particular bit. I want to clean the sound from noise, but they leave everything else in the timeline. No, the idea is take everything, just take the whole project. Everything is to be done for sound for those two weeks. How we give Give an example. Post production for one month for half the time it needs happening. Adobe audition. So take place all your entire sequence. And here we have video. It's not about explaining what it does. It's more about choosing the right one for you. The right one for you is 99. Come on. 99% is going to be the 2nd 1 Export Devi preview. Why? When you do professional sound postproduction, you're gonna be adding effects and a lot of stuff on doing a Q grading for every actor, how many access we go? If it's a field fiction from feature film, it's a feature film. I mean, how many actresses we got speaking roles. Every speaking role is gonna be a track. Every person is gonna have an EQ you grade on. Of course. Before reaching a Google after did you noise on your gonna have Teoh? Uh, the your compression? Probably, of course. Definitely your DS or your limited. Quite a few ticks. The list. The list that we've talked about during the steps. All of that stuff we're gonna do most of them attract level, multiply this time the actors now and then you add your music and then you other ambit on being sounded stuff. You get the point. It's a lot going on in terms of calculations and memory. It takes it takes some. It takes a lot. Okay, so do you think it would be wise to add more weight? More calculation, more memory requirements by askin Adobe Audition to take via the dynamic language? Sounds quite excited like Yeah, that's pretty cool. Actually, it's lovely technological thing that you could just meet. It's like it's some updated life you get in video life from Adobe Premiere. Thank you very much for the technology and for the dynamic. Like we're not going to use it for simple reason that we have more serious stuff to do. Our calculations need to be focused on properly denies an especially that we have different types of noise reduction, and one of them is very greedy in terms of resource is one of the types is very greedy. Okay, So Dad's gonna be an export TV preview, always or 1999 99% of the time. Unless you want experiment and see what it looks like. But it's quite heavy. Are you recording using the red camera? Are you recording this, Ari? Alexa, are you Are you recording role for the jet four K six K Chances. You don't want to have any of that dynamic like Okay, so you need to be unit just to export a preview video. No, I think this this export TV preview video is count kind off a very, very outdated. I mean, the setting has been there for ages, and I'm just thinking, I wish they have changed it because what you save is dot RV file, which is a huge file. What I recommend, Okay. Hoping that our job is gonna wake up and change this into a badly very heavily compressed file because we don't care about the image of the stage. We just want to have reference video you're gonna exported the way they said and then take your RV and compressive downtown before to have a gentle file. Okay? Just small size, very badly compressed image, which is gonna be absolutely fine. So just a matter of take it and then, uh, converted into before. Okay, Right. So this is just so that you feel comfortable when you're working on Adobe Audition you've got does Arsenal off FX going on. All of them are working together. You don't have another one annoying you. The dynamic click the older handles on this is gonna be your our last important one. Gonna look at these ones, but just focus on this one. Hold Your hands are very important. And you know what these are is just at the beginning and at the end, we have here for each one of those clips with we have a detailed, which means we have cut. So this was got either through an in out. This means we have selected this part of the order. But when we say we want an old you handle off one second, basically, we say that we want to have one second before the in I don't want second before the out. Which means one second before each one of these. Now the sick man. I'm going to ruin my head. It absolutely not is just going to keep in mind when he gets the editing. This edit list decisions the decision list ideal. When you're going to get that, it will take into account one second more. Now, do you want one second? No. 99 coma or for a change? Gonna make it 97. Now 99 come by 19 7% of the time is going to be five seconds. Why? Because you want to be on the safe side. Why did the safe side is it not clear that you have already reached the picture? Lock picture? Look, is it not? No more editing. I want you to always keep in mind that sometimes you may need other parts off the that sound clip for different reasons if you want. If there's some sort of a silence and that silence does represent ambient noise and you just want to use that there's 23 seconds because in another section you have an issue. You just couldn't use them. You can get them. Okay, so that's that's that you can You can use it. You can. You can swipe the clip and you can drag it right or left, especially a few years. And if we're talking about an ambient noise that you're important. Adobe Premiere and I'm being noise is safe. For example, it's a wild truck that you have recorded yourself, but it's a while truck that is limited in terms of this scene. What I have here this scene is quite long. It starts all it's it's started, just slept, check it starts away, and then it's quite longer. There's a lot of discussion. OK, then it stops. All of this stuff is going on. Andi, your ambient sound could be less than this, which means that you may need to use it several times. Okay. And if you're going to use it several times, you'd rather changed a starting point in the end point by moving the handle, because otherwise the audience could realize there is a petition. Okay, Especially so this are things just you want to keep in mind? Let me just go back again to my dialog box. The sequence and I have my handles and we go with five. OK, on here. Down. We've got audio clip UKIP affect and order. A truck affects. This is one off the rare cases where the defaults in adobe products in adobe software makes perfect sense. Remove all now this one is not 99. Combine to 99. This is not 1999 97. This is 100%. You always want to remove all your effects. Why? Because in the very first place, you should not have had any ethics whatsoever. All sound. Both production happens in Adobe Audition. So you need to remove him basically for somebody who started following the proper workflow , You don't You are. You are removing nothing. You remove all but all There's nothing because you've done absolutely nothing about sound cool. Okay, now that we have looked into this, there's open Adobe Audition. When you do that, you're going to click on Have you finished entire? No, no, no. Sent Dynamic link on then for the addition Footed for sound. 03 Um, yeah, kind of. Ok, just go back. Teoh two. Okay. Justice Stephen in 03 That's fine on say okay. And now it is going to start preparing video for Adobe Audition. This is going to take time, right? You are now like render in the full video. So I will get back. Once this is done and we will continue. What is gonna happen is that you get your video exported in the same location where your adobe audition is going to be saved and then it's going to open Adobe Audition and it will get the whole sequence in there. 5. Interface and organising tracks: once in Adobe Audition, we get this interface. So we have imported are sequence from Ah, Adobe premiere. And this is the interface off Adobe Audition. But I would like you to change the workspace, Please. Because although you are able to see the video, there is a specific workspace dedicated to editing audio to video. So you come here to window workspace and edit audio to video. This is your your, um, workspace. And then you click on the video on this Now, although gives you a little bit less room because you've got so much stuff going on, you can reduce this warning for history because that's only once you need it. Then let me look at this. We're not gonna be using 15 effects, so I think the effects track is definitely important. But I It would be like maximum danish. The number of the files that were going to be working with We're not going to be working directly with a specific file as then with the name right. So I actually don't know which one is this, So it's not really that relevant. What is important is just to make sure they're there, so I'm going to reduce this six significantly on. Just get this right. You can move the elements off your interface the way want you could even clues. This files. You could close all of this part and then just keep the video, the effect track and the multi track session here. Okay, The tracks here, the multi tracks. This is all you need. Like this is like 90% fortunate. Okay, but it's important to start working in this workspace. All right, now, let's move to the core of the interface. What do we want to know before starting our FX Now, FX comes at another stage. First we got our input input. Either we bring it ourselves if we're not working from it was not imported from other with Premier. And just bring it to yourself in here on. You just create file. Um, very much it. Yeah. File new under multi track session Or do you find in this case, it is always going to be if you're editing for film. It's always going to be much a track session of the new import your video on your audio tracks, but it's always a matter off getting it straight from another editing software. That's the point. We want Softwares to talk to each other somehow to, um, how to do the work for us. If you are working with Adobe Premiere, it makes sense to take it to Adobe Audition because there's a bridge. Right? All right, so now we moved to interface. You have the video here. You have the tracks here, and you've got effects track. The three most important things were going to be working with, But there's another one, a 4th 1 which is not visible now because we are now in the multi track session. Okay. Very, very important distinction between multi track session on the way form view. All right, let me close this one for us. Because initially, I think when you open it is going to look something like this, right? So when you're in March to track you are, you're able to act on several files. When you are in wave form, you are going to be able to act on Lee on one clip at a time, right? It's going to be highlighted here, but we are just a jar Bonuses. I've been care which file it is because I would like to work directly from the clip, so I I'm going to select, say, for example, this one. And if I click on this clip than it is exactly this file, if I move to the way form, then I'm only working on that one now. This is one distinction, but another distinction that is very important is that when you are in the way, form everything you do, that's it. The change that you make is the change that you make. It's it's look, it's is there, that's it. It's it saved to the files in the hard disk. When you are in the multi track session, it's a different story. Okay, that is a different story. You're able to add a few effects working with the effect track. And here comes the distinction. When I said, I will show you the two ways off a plane effects and one of them is gives you the chance to go back, and another one doesn't give you the chance to go back. Okay, so the one that gives you the chance to go back is the multi track. You've got a track effect track and then you start here. Click on. You've got plenty off effects here. And then you selected them. Let's say I'm going to go with something like, um, noise. Okay. I'm going to go with adaptive noise on then. It is also good to show you this. You get a warning in this study. Holding them in the sacks of epic may not be suitable for real time playback because or of this stuff about CPU intensive. Do you remember when we talked about exporting from Adobe premiere and I talked about the dynamic link stuff? This is why you don't need that fancy dynamic link. Just give me a file Past export of fire than ever put in my heart desk. I'm going to read from that. That's it. Because we haven't even started in it. Haven't done anything. A told the very first effected saying it's CPU intensive. Okay, so you want to be careful with that? Actually, it's not telling you. Be careful. Just tell you that you will not hear exactly the result because we're giving you kind of a preview. But once the effect is applied, it will give you the full the full results. Okay, So it's good Okay. Thank you. And then let's say we have made our tweaks and what not underneath. Come here and you're gonna add some of the stuff. Let's go, Teoh else! Yeah, let's go to compressor. Let's follow our sequins off. Compared with compressor is gonna be a spot of the dynamics dynamics. Here we go. Multi band. Okay? I already have one here, but I'm gonna go with with the multi. But let's go. Let's say we have multi Bonhams gonna close it right and I will have Was the next one acute a fancy acute Parametric equaliser? This is your best friend and then we say we go into DSR. Yes, I was gonna be somewhere in the aptitude, Dear sir would make actually but a sense to have it in the same category as equalizer because it's it's a cousin of the equaliser. But he's an equalizer. It's like especially kind of equalizer. Anyway, it does exactly the same thing. Um, under Let's go with the limiter. I actually you know what? I'm not hardly Maduaka hard limiter. There are plenty of limiters, but all I'm doing now I'm not telling you this now. We should work all I'm thinking. Thes is where you going To put your the effects that you want to look there and then you can decide whether you want to apply them or not Yet. Okay. Then you have the dry, wet signal, which basically means applied effects that 100% Or apply or not apply them. If I move to 0%. Basically, nothing is applied. If it's 1% into supplied, okay? And then you can You can activate what is activated them. All of them at once or one by one. Good. Okay. What is this? These are effects. These are effects that we have. Um and we can literally just remove them. I just Ah, just press delete now and the DSR is gone. It is something that is non destructive. Okay, whether if I decide to come to do we form and then come here on to the effects and start applying from the effects Now, the difference between effect striking effect is that effect truck. You can undo it. You can change. It is nondestructive. The effects is destructive. To go through the menu. This is destructive. Okay. Something you want to be aware of? Because this is writing straight into the file on the hard disk, whereas this one is stolen. Okay, You've got a waiting list. All the effects are gathered, and they're waiting to be applied once. You're kind of okay with press supply, and then it will be applied. Okay. Nice. All right, Now, let's move on. Here. You have your apply button. Okay. Which is the other? Let's go back here. Yeah, here we have the dry, wet signal, and here we have the apply button in the way for All right now. Distinction, way, form and multi track is clear. We have Here are tracks. Whatever you have brought from the timeline is reflected here. This doesn't mean it needs to say this way. And when I say 50% off your post production should go to a professional sound first production. It means that there's a lot of work to be done in terms off preparation. At least let's look about. We're going to look at this and say we have a lot off old. I'm sorry. Lives turn off the year the sound. Okay? We have a lot off stuff in here, and let's go to a scene where we have plenty of people. Let's go to when we have five. Yeah, we've got five people here. Okay? Policeman Teoh, the head of police and two policemen and two people from the secret services. All right, s so that they're all talking by the way they're talking. What does that mean? It means I'm gonna end up with five tracks at least. So I need to organize my tracks. This is what I have inherited from Premier, but or any other didn't software. But I need to to work on this. I'm going to assume that I've already placed everything where it's meant to go on. Come here and say this is head off police. So it's very important to organize your footage. Homes, are you for that? Your, um, soundtracks on this is like a policeman. One. If their roles are critical in the film, you want to use their character names. So this is Secret Services one. And this is secret services to I'm giving you examples. This is not the case, right, Because here I've got all the footage for the whole thing. You need to start the moving around. Let me go to make sure I'm using to select No. And then you start moving around your, um individually selected, say microphones Choice. It's the choice off which microphone you're gonna take because are you going to get the file for the boom pole? Are going to go with the file for the flat. A lovelier Mike. Be careful with mixing them in a random way because you're going to end up with the head of police with the lovelier because he is too far. And then the police, the two policemen are with the dynamic idea, the temple, And then you end up with the love for one if it's noisy. For example, if this guy has got a non cotton stuff and there's some lawyers and elaborate and you're gonna go with the other broom po, which is no very close, you end up with a big mess. So it's something you wanted to sort of the production level. And when you come here, then you're left with other choices you have made during production and you start moving them around. The idea is quite simple. Organized Your stuff, please. How do you organize it? Okay, um, it's not just a matter off right in the names. Yeah. Okay. I see head of police actually gonna end up with your huge list off trucks, one truck per actor. At least now, this film has got plenty of actors, so I'm gonna have to creates other tracks. A new come here, um, to the year multi track and just go track on ad. Do you want to add on a story? I just It was jumped quickly as stereo audio track if he was recorded stereo, and then you just click on it comes just after that. It comes in a different color. You can change the color any time you want. Whatever. Just go with this one point, Andi. That's how you add more tracks. Now, this isn't gonna cut it, because there's no point in, as in older actors and anything. Quote. I also have ambient noise. I also have the room tone. Okay, Room tone needs to be recorded all the time. So when you have finished, um, although it's quite okay, I wouldn't say it's quite recommended, but please make sure you don't forget it, because sometimes you run out off the okay, you're on over. It's like it's too late. You've gone beyond the shuttle time, agreed with the location owners. And you just need to leave when you forget that there's a wild track which basically means you need to get another room tone, but that room turn is gonna end up in a track. So let's say that this is the room tone. Okay, then you're going to need some, like, fully okay? Fully is, um it's on the artist Jack Foley, who who first started this technique off recording footsteps record in the handle of the door. That door closed all of these small little files. And then you say, I want to bring them here, right? It's gonna be in a separate one. It doesn't have to be fully everything in one track. It could be different tracks. I mean, more trucks. And here you may say what I would like to have music, but then probably different types of music. Then you end up with more tracks. How do you organize these? This is dialogue completely different from room tone. Completely different from fully. Our music is definitely something unique. So we're going to need to organize them in groups like grouping them you know, Let me just get make sure I get rid of these effects because I just demonstrated this. I did not mean to keep them. And the hard limiter definitely should not be at the clip level way. We'll talk about that. Remove effects. The remove effect. Good. So we have now talked about this. I need to group them. So all of them are. These are dialogue. All the characters are dialogue. Okay, so I need to have a separate group track where all the dialogues goes. Everything goes in there. All right, So I come here to multi track track and then come to bus add study a bus strike. Let me come here a bit closer on. Add stereo, bus, truck and it comes. Just write down here. What is this? Study? What is a bus struck? A bus truck is like a group in, um, a group in track. So basically, when you have five actors in this case, we're just limited to five actors. Everything is gonna feed in there. They're not going straight to the master. This is your master. The blue one is the master. Okay on. Then. You have this, but then what I'm trying to do now is right on this one. Dialogue. Then I say, OK, router on. You know what? There isn't only one room. They we have plenty off off, off off locations. So also just clicked by mistaken identification. So I'm gonna have to create another one. So multi track new. Let's say this is ah, well track for or something for outside short Wild truck on this. This is annoying every time it comes in a different color. Um, let's group them okay. Much a truck track on stereo, and we say, Well, this is everything. Well, track okay, fully. I'm gonna go away to fully number one, and, you know, just keep it for the simple right? You get the point. Can I get this as fully? If you have only one, I would still recommend you group it. It's just the matter of visually seeing, um the few tracks that are feeding the monster don't Sunday tens 50 60 tracks to the master , like all of them feeding in a in a big spaghetti way. Although fully in this case is just one track, send it to fully sub sub sub Next, like the boss for it. Music. We're gonna have plenty of music. Stop. But you get the point. You can create as many as you need on. Then take them in a bus. Recall this music finer. Clearly the form is different. And from this format here you can tell that actually, I have less things to worry about. Now, when I talk about the master, only four tracks are going to feed the mustard. But hold on a moment. This is not true. Not yet at least. I have to tell Adobe audition that my dialog tracks because it doesn't know anything. Adult Edition knows nothing about the tracks. I need to say what should go Where? How do I do that? I am going to use the scroll wheel on, click on the stuff and use this for Well, then, if you refuse the scroll wheel on the track names, you're going to expand them. If use the school real on the track of the tracks here, you're going to school up and down. Ok, so you need to scroll to open them and then scroll up. So what if I got in? I've got the head of police feeding the master. No, I don't want to feed the master. I need to go to the bus which passed dialogue. Selected next one was this policeman. He needs to go to dialogue. Bus dialogue. The next one is police Do same story Waas dialogue next one as well. Dialogue on the last one is dialogue in here, right? What's next? Then? I've got him feeding and dialogue and there's room turn Room tone should go to We should go to wild track And the white track, of course, goes to a white truck. Nice. Next one is going to be the Foleys. Go into the Foley roids and music goes to music well on by default. Every track you create by the Ford goes to the master, so that's a safety net. We make sure that everything is feeding the master. There is not going to create an understanding somewhere else that is disconnected and lost in the galaxy. It's always by default the monster truck. So I'm going to reduce here with the score real and you see that now everything is properly feeding the right the right. Subtract some subtract. I'm calling themselves tracks and Busses in here, and they're called subject system, where also, anyway, Dependent software. Here we have 41234 only four feet in the Masters. This is how you organize your you're plenty off tracks. Your project is going to end up with plenty. So number of acts, speaking roles, speaking rules, number of actors. Unless you have, say, for example, somebody who's got just one line, Um, the whole Sears in the whole film, there's a concert that sustains world line. Now we don't necessarily need to have a specific track for that guy. Endless, endless. You insist on using the e que at the track level, do you think? What is he talking about? What's that make you think? We've talked about the Q not in detail, but the idea of having every person in a specific track is that we because it's the voice, it's a vocal. Its UNIX, that person. We can have things that are tailored made for the guy. The head of police has got a unique voice. That voice needs to be dealt with separately, so you're going to create a preset for the CQ on full how you deal with his voice differently than others, which basically means if you have 50 speaking rules, that's a bit a lot. That's like it is our Siri's with the TV series with lot off episodes. And okay, Lets says. Go buys. Go down to something like 2021 21 actors that you are going to end up with 21 tracks, 21 eq you grades and 21 presets. The beauty is that you can apply the preset any time you want for that specific person. As long as there are no huge differences between the environment, okay and in the surroundings of the person because, especially for E Cube, it tends to take into account with her. It's a small area. Whether it's outside outdoors, it's it's another thing we'll get into the details. But of course, first things first. Getting organized. Do you know, start to see how much work goes into professional sound? First production, and we haven't yet applied a single effect. First, getting your sound organized. You have done this for video, have you not? So why not do it for sound? Because when you were in Adobe Premiere or any other edit video editing software you have had to go through all of that, placing one video at the time, bit by bit. And then this one belongs here. That one belongs there. No, this one comes on top holder moments. But this one there, this slowly building your timeline out. How much time did it take You? Okay, Same attention now is going to go to Adobe Audition. Same attention is going to your sound. We're going to build it from scratch because here you have three sounds. One of them is lovelier off the religious check. Which one is this? Yes. So this is the lovelier off the boy When you get closer, one is lovelier of the boy. One is lovelier of the lady and one is the boom boom poor. You're going to decide which one is going to go anywhere. And of course, when it's the lady that is gonna be the lady. And if you're gonna add, the lady is gonna be multi track track and add a studio on what's her name. It's a name and character. Name is Maria. So I'm gonna click in here on That's it. And what's the deal? The kid, the kid is marks and going with another artist going marks. Well, you could You could actually you know what? You could change the color to match whatever. But I just think Probably makes better sons for me at this stage. Just keep them green. What? You can change. His goal is too much of stuff, and then you could move it. Say, for example, this is our lovely kid, Max. And this is the lady here. So that's it. Well, if it is the chosen microphone, of course. Right. And here is where you do your sound work. Not in a editing software, okay? 6. Spectral Frequency Display: Now let's talk about the spectral display. We find it's under way form. So not the multi track, but we got away form on here. We find a way for that. We have agreed that we're going to work with Frequencies mawr than with volume. And we're going to work with the spectral display Mawr van with way forms. So where do we find a special display? If you come down here, you're going to find its hidden here. So if you increased this, you be able to see more. And I would even recommend you simply just closed the way for him because you've got some sort of, ah, small, lovely, tiny representation here because you are going to use most of the time the spectral display . This is what I need you to feel comfortable with. I want you to feel at home when you are looking at the spectral display. This is your geographic card. This is where you see sound. Okay. You see categories of sound You can easily tell what is what. All right, now this sound this actually, when you look at this scene, this is a voice over, so I don't think it's a very good example. In this case, I am going to grab a batter one which is just simply from a normal dialogue because there's a voice over. But I'll Sorry. Let me just switch off the sound again, um, lives gets. I think I prefer this part. Right. This parts, this spot is brilliant. Um, where the scene is quite simple. We've got on interrogation between a policeman on a lady who is completely innocent. Now, why my say in this, why do we care in terms off sound burst production? Because she is shorten. She is almost about insult him. She's being kept there for five hours, but he hasn't done anything. The only problems that she knows the guy who has done it, um, they're just hoping to get any clue from her as to where he is. So this the way form is gonna look a little bit mawr like about. Let's look at that. The way form has come here, I really wanna make sure exactly on that clip. So timing is a bit yes, exactly on this one, but I'm gonna take her lovelier. All right, now, that's not really the greatest frame. No, I prefer that one. Cool. Okay, now I've got way form and you see how how wild the way for maize, the wild in terms off. Not just big, because I've increased the size of the viewer off the pain here for the, um, for the way form. But because off the decibel level, let's look at this a difference. Because when you look at the way form and you look at do spectral display and compared it to you will understand the difference. You only see So you onda decibel levels. That's all you see in a way for him. Nothing else. You have no idea which frequency it is. Yes, You see how loud it has become. Sometimes when she's shouting, it goes open down and stuff. But that's all we see decibel levels. It starts from the theoretical mathematical infinite. Here, 200 is every sound mixers nightmare. Wait Reaches zero eclipse when eclipse The sound is not usable. Which basically means something has gone terribly wrong. You've got to do it again. Okay, so zero is every every sound mixers nightmare. Let's now move to the, um, spectral display. Now what reaches off information does the special display give us. It gives us everything we have from the way form, but much more information on the right. The disciples are gone and no more levels. The volume amplitude decibels gone. So how do I know which part is loud in which part is not well, loud is bright and quite is dark. It is visually represented, with limited ants and with color. Of course, because we've got some red, some yellow now I'm recording in the evening. The colors a little bit different because I'm using Aflac's, which is like kind off the north shift for Mark and it changes the display. It's bit like oranges, so my screen is now oranges, so the colors are not really really 100% accurate. But still you get the point here we have black. Basically, it's quite, um, but what is quite it's not a moment in time. She she has been quite there's there's here. There's a frequency that is there's no sound in that frequency. This is what I need you to understand on the writer. You have frequencies. So from zero up til here, 20 kilohertz, zero hertz to 20 kilohertz and then you've got here. $1000. What did we say? We have here a female. She is screaming, shouting. Um, But yet if you notice here between zero and almost 200 there's not them. It's quite simple. You just look at the bright side. Sorry that the bright the bright side of things, the bright part of the off the spectral display on you See that this is her voice did. And I mean, this is her voice. Like everything is. Here's a voice, but this is the beak. And it's above 150 Which basically means everything you see down here. Yes, it's a bit tiny, but here is zero on this one is 200. Okay, this is 200. Everything between zero and 150 is noise. Is stuff without ones to here. So this is what we need to address. Can you show me noise here? Where is noise? Is it in this spot over there? Like Okay, in this one, we can say it's quite easy, but that's a different scene. Um, or maybe in this one, let me just check. Probably here, because she's a big, quieter or maybe breathing Maybe she's breathing it. What can you show me? No. Is there when she is speaking, that's exactly the point. The way form can only take it off are And then you need to take the special display. This one gives you all the information in need. You know, if a dog is barking in the background, you'd be able to see it here. You'd be able to see the dog barking here. I mean, the sound of the Barkin is gonna be and I'll show you. Actually, I think I'm gonna take one of the examples of a dog barking. I want to see it simply in here. Can you see any? How will you be able to see Doc Market? So it is quite simple. It's a shift in mindset. You don't want to work with the way. For most of the time, there are moments when when you normalize, for example, you are going to work with the way for there are when you're going to limit using the limiter you are going to work with the way for Well, that's it. Everything else is about frequencies. Okay, this is now I'm giving you time on the bus. And when I talked about the voice, the core of the voice, as we said, it starts. See, it's sauced 1 50 but the heaviest parts in terms off presence. You're gonna find them in around 500. See anywhere between 100 to 506 100. This is the heavy box. The core off the voice is anywhere between 1000 and 3000. So if you cover between 500 to 3000 then you've got most of the voice. I'm not suggesting you should cut out the rest. Absolutely. No. If you go anywhere higher like 6000 you're going to find voice. Everything you see here is her voice. Everything up till 18 k 18 kilohertz, often 20 kilohertz. But it's a different voice and we'll see that. Actually, we'll hear that. Okay, 7. Male vs Female voice in film dialogue or interviews: very briefly male and female voices. We have here a few numbers. Okay, I'm just gonna go briefly on this and we will discuss in details. But these numbers are quite important. Why? Okay, when we have here for male voice, we say base starts us 100. It starts at 100. They made them. May voice. The base starts at 100. Word frequency 100. Okay. The female voice starts at 100 unf if t different. But the core of the voice for human voice, both male and female, lives somewhere between 1000 and 3000. Does it mean that it's there's nothing after 3000? No, there is voice after 3000 you're gonna find voice at 8000. Gonna found voice a 10,000, 12,000. But you know, gonna find any voice that's 50. There's no voice at 50. There's no voice at 70 were maybe some start at 90. So male voices start at 90. But mostly it's about 100. So what do we have at about 40 50. 60? What is that? If we say voice starts with 100 So what's below 100 then? Exactly Noise. So Now we're able to identify where noise lives. This is the address of noise. GPS location. We're able to see your now not just to hear you. This is the beauty of frequencies. Because when you start thinking in terms of frequencies, you can start Get your noise, your vocal, your music, anything you want you can targeted just by knowing where it lives. De address. You can target. Okay, Now you're noise. Is does it mean noises? Only between 0 100? No, but you know, to stop that between 0 100 iso noise. That's after contest. Remove it. Drop it. So this is why one of the techniques before we even start when we talk about it, you killed the 0 to 100 then we start talking. That's one. When we say 100 is the base, what does it mean? It's starting? Um, the more we go in terms of frequencies, don't more voice we get but the base, this strong base, you're gonna find it around 405 100. So if you want to make a voice more presence in heavier in terms off, um, let's say it say the role is ballsy. It's a woman. It's a woman. It's a female in a character in enough, you know, fiction, film or whatever. And you want to make that on the role of the character is ballsy. And and you want to give her more presence? You just gonna boost the 500? Okay, because 500 is is the quarter off. The missus is the heaviest part of the off the base around 500. Okay, then what we're doing now? We're talking numbers already. Way far from the young from the volumes and stuff. We're talking about numbers because that's the beauty off the frequencies. I needed to understand the numbers for males and females. The only difference is just 15. There's not really much of a difference. What do you know that actually for female, when you want to roll off the noise, you gonna go to 150. But the most important part is 1000 to 3000. And knowing that actually, the troublesome the problematic frequency is going to find them about 800 Gonna find some more. About 8000. Gonna find some nasty ones around 12,000 and definitely the annoying s annoying s is somewhere, but it will never be any 400. It s does not live in 400. Where's the GPS location s the SS? Those nasty SS. When you somebody says s and the depends on the person, every person is different. Okay? It's not just about the s itself. Every person is different on male and female different. And then the recording is different and microphone is different and every time is different . So it changes. Address. That s every time you're gonna look for it is going to change the dress, depending on the person. So where do you find it? Right. You know for sure it is not in the country called 0 to 400. You're not gonna find the 0 to 400. It's no there. It lives somewhere around as off 600. You can't find it before 600 k Probably in some water. No, no. It needs to be before beyond. 600 sometime. Most. Most of the times around 800. Your best guests off the GPS locations. 800. Did you get the point? It's all about numbers, frequencies. But how do you know them? This is why I'm showing you now and I'll show you bit by bit. Okay, But this was just a a quick, brief introduction. 8. Understanding frenquency bands: Now let's talk about the frequencies. I would like you to understand them properly on. To do that, I want to use first of all, the multi band compressor that do not get distracted by the tool. Please. It is not time to understand how it works. I do not want you to focus on the functionalities on the para meters. So now I come here and I show you amplitude compressor. Multi band compressor. Okay. Why do we do this? To understand the frequencies. What is this? We don't care what this is. It's multiple and compressor. It's whatever it is all it does. I wanted to care about the multi band word. That's what you want to cover it. If it's compressing or not compressing, we don't care this stage. Okay? We have here in the in the X axis. We have hurts. And in the y axis we've got, of course, the TV's all right. Now we have the frequencies here on the levels off the volume, amplitude, whatever you wanna call it in the Y axis. Why do we have a year? A line? There's a line here and there's another line here. Doesn't only which basically means it seems like we have area number one, area number two, number three and before Or band. Shall we call it a band? Like properly? This is why it's a multi band, Multi Bonzo band. Number one, Band number two, Band number three and number four. What does that show you? It surely that somehow this tool, whatever that tool is, has split the frequencies in terms of rangers, it say's okay. Something between zero. And what is this? 120. So this is the limit for this one. If you move this, gonna move it. Or if you can come here and come back to the 120 that is it. There is one range. And then there's a second drain, which is between 120 armed. 2000. That's a big jump, is it? No. And then between 2000 and 10 thousands is banned Number three. And then there is the other last band, 10,000 under both. So then kilohertz on above. Okay, now why do we have this? But do you remember when we talked about the male voice on the female voice? Now, these numbers we talked about. We're going to see them again and again and again because these are the numbers we want to work with. Do you remember? What did you say about the male and female? 100 herds. 150 hertz. Right. Cool. Okay. The developers off Adobe have decided to come with something somewhere in between. Initially, if you have a main voice, we're gonna go with 100 here. Okay? On, if you got a female voice just going to go with 150 That's why we say it's important to keep these numbers. Because between zero and 100 for male between zero and 150 for female, there's nothing. I don't mean There's nothing as if it's quiet. It's just a waste of space. No, there's nothing useful for us. Basically means we need to kill that stuff. Whatever that is in in there is just a mumbling and rumbling inland on the interaction between all sorts off noises that creates a new knows that did not exist in the first place . Yes, you here. It's very well what I'm saying. You are creating when you record you are creating actually a noise that did not exist in the first place. That sounds a bit weird. Well, when you have a fun, that's a fan noise. When you have a refugee refrigerator, that's a noise. When you have a ventilator, that's the noise. But what about the interaction between the fun, The Eurovision, either the voice of the man deemed the walls, the environment, the outside traffic, which is very minimal? And then guess what? The noise of the microphone workings Lunatic. Whoa, that's that's very small. My microphone is really good are it's an expensive one. Every microphone has got its own internal noise. Yes, the most expensive ones done to have less of a problem with that. But still, the interaction between all of these noises creates a new noise that you end up here in between zero on 101 150. Okay, so this is the again GPS location day address off the noise. But to understand that this is what the Here are Dobie developers descent. Okay, let's come up with 120. It starts with one in 20. I would recommend you just make it depending on the voice you're working with. If it's made wanted a female 1 50 Now, the second bond is gonna be something different. The third round is gonna be something different. The fourth man is gonna be something different, but your voice is spread a human voices spread between 100 Onda. Whatever. 20 K $20 whatever. So it doesn't stop at 2000. Doesn't stop at 3000. Doesn't stop a 6000. It doesn't stop at 8000. You still find voice, but what kind of voice? Guess what? I have the answer for you, but I would rather have you listened to it then Don't talk to you about it. Let me just let me just quickly put on my headphone because you I want you. I have decided to record the system noises. What's that? You hear it directly from the system. Just putting on my headphones. Okay, now, when you but your headphones in adobe audition on doesn't change in the list of Ford your stuff. Okay? Just say no or it. Now, in this case, what have we got? Let me just switch off this one so it doesn't interfet with the microphone. Coop, What I'm going to do is well, this this one is solo and this one is bypassed so little. So I'm just gonna work with I want to hear only what is in between zero and 100. Shall we do that now, Before doing any of this? Let's listen at the voice as it was recorded. I'm not isolating any frequencies. We're gonna listen at the voice as it was recorded and then we're going to start our journey with the frequencies with the band's frequencies. York, seventies, a week, 12 hours a day Just started 50 clock and you get two breaks of 10 minutes per day, one day off per month and the busy period. Just stay longer If something happens to you or you get injured, We don't know you. If someone asked, you know, working York seventies a week, one of hours a day. You started 50 clock and you get two breaks of 10 minutes per day, one day off per month and the busy period to stay longer. If something Abbasi or get injured, we don't know you. If someone asked, you don't work. Okay, now that's enough for the voice. Now we're going to go banned by bound. I need you to understand your frequencies. Let's solo this on. Come back to the beginning. Let's listen to this. If you are just using the extent of speakers of your left or whatever, if you can't hear much, I would strongly recommend that you use your earphones because it's a minimal noise. But it's there. OK, okay, well, that's mumbling Rumble in that. So that's a lot of stuff that you just think. Hold on a moment. What is this? Is this voice now, sometimes with, um voices. Yes, you can end up with somebody at 90 find So but it doesn't matter. You can always decide to start at 100. Um, this is stuff that you don't want to have in your voice. Sorry. In your recording is not the wrong with the person's voice. It's just that the recording has created this stuff, right? So we have picked up thinks, plus the internal workings of the microphone and the interaction off that with all the other things. Now let's listen, but the other band shall we? I'm going to isolate now Solo, Just this one in the middle. Now, of course, this one is this this one is, There's this one is this and this one is that one. So I'm gonna solo this one, and we'll listen between 102,000. Now, again, you may be thinking, What is 2000? Um, it's whatever you want it to be. Actually, you could make it 3000 if you want. Because we already talked between 1000 and 3000 mainly on the kind of the average, about 1500. It's just don't go beyond 3000 for simple reason that the core of the voice is in that band . Otherwise, they added more stuff that you should be working on, actually. Okay, so I'm gonna leave it, um, Mr Leaving at 2000. The default. Okay, let's listen to this. Seven days a week. What of hours? A day? Just 750 clock. And you get two breaks of 10 minutes per day, one day off per month and the busy period. Just stay longer if something. Abbas, you're getting injured. We don't know you. If someone asked, you don't working. Okay, so how does that sound? Very, very close to the normal sound without isolating Depends like it would have been like, Let me just and solo this one. Um and that is gonna be a little annoying. Let's go back. Okay. Default. All right. So, um, let's listen to it again without these a week. One of ours? Yeah, the original is richer. But still, if you just saw this band revival Kragen very, very clear. You can understand everything that's being said. That basically is between 102,000 103,000. This is your voice. That's the core of your force. You want to do something about it? That's where you find it. That's the GPS location off the human voice. Okay, now, this is important. Let's move. Now. I'm just undo this. Bought and then moved to the There aren't band. What is this? Now? This is a low frequency. This is a mid frequency. This is a high frequency on. This is the very high frequency. Let's look at this stuff and it gives us actually a good representation. Also in terms of color, which one is which? Let's look at this. Two breaks of 10 minutes, one day off per month and the busy periods. If something happens to your good Asia weed. If some yes, dorks, you get the point. OK, you get the point. This is now just a little bit off the voice. Yes, it is voice you conceal. Hear what's being said. But you wouldn't be comfortable just taking the high frequencies and put in the minute film . Or, let's say, for example, it's a very low quality recording. Would you go it the second ban? Or would you go the third band? Which one would you choose? The 2nd 1 is about 80 to 90% of the voice. The bed bound is about 7% tops. The top 7% symptoms after frequency. Um, not really the highest, highest request. We're gonna listen to that as well. But this is what makes hilarity. OK, so the first band noise useless. The second band, the core of the voice, starts for the presence. These these words are important. You could even write them down presence if you want to give somebody the presence, if there's a woman that's ballsy, want to give somebody the presence in terms of voice, you need to work on 100 2 2000 or 3000 if you want to give a little bit more hilarity to their voice. You need to work between 2000. Andi. They called on a moment's a my going to rely on Adobe developers telling me sick thinking then gets to be too high, because if I am going to increase everything between two K and 10-K and I know that the nasty nasty s lives somewhere around eight gay, I'm going to boost Esa's. Well, my good, I would have a problem and I'm making it worse. So I need to isolate that nasty s. Which means that I can for myself defined that. No, Sorry. Thank you very much. I'll go into 7800 or something right now. 8000. Or you could say Hold on a moment. We're not going to do that. I'm gonna target the s separately. Let's work on the clarity as a whole on I'm going to target the S and bring it down. That's the approach. So you can go ahead and just keep it as 10,000. Fine. Okay, Right. I'm not talking about compressing now I'm talking just the multi band trust May. I will not touch any barometer here. It's just about you understanding what's going on. Now let's listen to the last one. Let me just go back to default toe armed. We're going to click this one and listen to the last one. Let's go back to the beginning. And please. It may be very, very quite again. Put own your Your handset's okay. I think I can stop already. Here you get you get the point we're talking about. Probably 0.5% for 1% of the voice is in the highest frequency. It tends to come and compliment the 3rd 1 but, uh, I would say this is trouble. This is it's more troubled unuseful. So if you kill between zero and 100 you say I'm gonna kill anything higher than 12,000 anyway, you're good to go. It's like if you define it as your school of thought and say just to be on the safe side for everybody for the rest of my life, I'm gonna do that. You are good to go because simple the highest frequency is just like you can add a little bit sharper clarity, but you can decide to roll it off. Just remove it completely. It's a choice. And sometimes on what is my choice? 90% I go for killing it and 10%. Sometimes I use it to drink up for heavy, deep voices. Sometimes you want to have a bit more clarity. So deep voice raised the high frequencies a little bit. Uh, we're not saying about you. Very sharp voice. Bring down the high quinces, high value frequencies. Okay, Okay. Now that we have made the tour off the frequencies and that you know that for Voke, this is for human vocals, okay? And this is for any kind off sound whatsoever. You just look at your okay. Initially, this is mental. This split here is meant for vocals, right? That's why when you come here to the presets, let's just have a look here Now. We've got a lot of things here. There is a process for compressor. I think that thea other process I had in mind I would find him into equalizer. That's where you find so? But it's the same time. Same type off, split off Rangers. This is mostly for vocals, but identifying ranges. You could do that for any kind of sound. Even When you're working on music, production and stuff, you can still do things in ranges because 0 to 100 just tends to be trouble. Someone, okay? And there are limits to what humans can hear it in general, what we can hear. Can we hear 30? There's there's a limit, as of which we start hearing and then all of that stuff that we here up till one hundreds kind of noise and then from 100 onwards, is our voice good? Okay, The purpose of this exercise was simply to understand the frequencies live in there are dropped rangers of frequencies, and each one of them has a meaning. And for you, you have a purpose. So, you know, for each one of them, if it's gonna be increased or decreased. 9. Understanding frenquencies: Now we're going to talk about frequencies by using another tool. And that's gonna be just remove this one from here. Remove affected. Then we're going to go to the equalizer. Okay, Equalizer, something we're going to find under the U Parametric equaliser. No, I don't care about the tool. Is such a to this stage? We care about the explanation off the frequencies in the sound postproduction. You cannot afford to go straight into, um increasing reducing levels off your volume without understanding your frequencies. All right. Okay. What did we do when we talked about when we talked about frequencies explaining them with the multiple compressor? We talked about ranges, bands off frequencies. So the zones where frequencies are and what they mean and what you can do about them now is a completely different story. I am not going to repeat the same thing. This is completely different. Another exercise. So you're you're going to have to do birth, thinks every time when you're doing sound postproduction. What is this about? This is about individual frequencies. And then you think hold on a moment. There are about more than 20,000 frequencies. This one is showing 30,000. And you want me to target individual once the answer is yes, but it's gonna be quite fun, actually. And quick and fast on, By the way, you're going to notice that there are some other numbers in Okay, let's look at this. I'm gonna go to clarify. Here in the X axis we have the frequency isn't in the Y axis we've got. Of course, the levels, the decibel level. Find same story. As for the compressor, Good. No. Do you notice that we have here. 1234567899 What? We don't care what these nine are. Okay, What we call them at this stage, it's just about you understanding the frequencies. But it seems like we have already nine things to work with. Let's call them. Thinks. Okay. Um, and then it seems like adobe developers have put their as defaults 40 50 200 800 holder. Moments When we talked about the compressor, the numbers were different. That was 100. That was 2000 was 10,000. So these are the numbers in the compressor. Let's it's right. Trying to see if I could bring both at the same time. Yes, I can. That's brilliant. Okay, you've noticed here. When we talked about this, we cared we didn't care about individuals. Just said OK, 0 to 100 0 to 2 to 2000. 100,000, 2000 2000. Then you come here, then you find what am I supposed to do with this? You know, supposed, um, to stick to these numbers here, these numbers are are doobies way of saying, Well, you know what? We're gonna spread them around, then you and then find your way. It's just aesthetically more Sorry, I'm just stop this one. I just aesthetically more pleasing to have the most split like this and in a rather more or less symmetric way than have them all gathered at the same point. Something like this, I thought we could have could easily have put all of these points somewhere, like all of them at this all on the same level on. Then they let you work on it. Fine, because it's all about you. It's all about what you do with it. The's numbers really don't matter that much, but But there is some. There is some sense. There is some. I'll just explain the reset, but it's what is not good correctly. Okay, now, I think it lived it correctly. All right, Um, there is he 800. This 800 is quite an often troublemaking frequency. Before I proceed any further, tell you what, I'm gonna ask you gently to switch off everything that you have in here by clicking on the number. So you click on all of them. Okay, There are no all switched off. I'll just create one click on one on. Come to the decibel level on. Put it a 20. I will explain our explain what I'm doing. I'm done. Come here to the Q factor. Que with q slash with which sounds a little with fancy. You don't know what they say. Sounds a bit too technical. I'll tell you what that is. Do you notice? Now? Let me just bring it in And father even higher. Even higher. 40 alcohol is going for 27 More fun on. This is 20. Yeah, we can make it. No. Okay, you notice now the game is basically the level of into DB. How high do you want to go? How high and that this? I'm not explaining the Parametric equaliser. I'm just trying to explain how we're going to achieve what we're trying to achieve. Okay? When we come to the Parametric equaliser, I'll explain to you every single step. But this one is needed now This one over here is just Do you want it? Why? Either or near where that's all? It's a fancy word for wider versus Narrow that it could have easily bean narrow versus white. That's actually what it is. Okay, right? No! Why did I bring the Parametric equaliser in the first place? For simple reason that this is how you target specific frequencies. Now if I start moving it and don't move it from the dot here, please. Because we want to stick good at 6 to 20 or 25 on one of six of that and then come here on the new click and drag If you click and drag are able to move. Okay, I want you to do this exercise. Not now, not now. The idea is that you don't do anything now Just listen to this on watch and go through it once to understand on only work with it when you re when we reach the section about the the detailed section about equalizer. Now you can move this around the what? Why do I want to do that? Let me, Tom. Let me show. I'm going to play this and put on. Sorry. Put on, please. Europe, um, your headphone, your headphones and you will be able to listen to something that you probably are listening to our hearing for the first time. Let me play this The work. Seven days a week, 12 hours a day. Just 750 clock. And you get two breaks of 10 minutes per day, one day off per month and the busy period. Just stay longer if something. Abbas, you're good Danger. We don't know you. If someone asks, you know work, York. Seven days a week, 12 hours a day. Just started five. Did you? Did you hear that? Can you get two breaks of 10 minutes per day, one day off per month and the busy period to stay longer? This one in particular. Can you listen to this? If something happens to your this stuff is in your recording, you can't send this to the television. I'm not saying it's not loud. I'm saying I am exposing it now. I'm increasing the level of thebe off a frequency that is inherently nasty. You can't send stuff like this, too. Theatrical release. You cannot send like stuff like this to television, to client to even for your own personal project. You cannot keep this rubbish in your vocals. In your recordings. Let's play on, See more off this goodness these a week. A lot of hours a day just started 50 clock and you get two breaks of 10 minutes per day, one day off per month and the busy period to stay longer. If something happens to you or get injured, we don't know you. If someone asked, you know work, York. Seven days a week, full of hours a day. You get the point, you get the point. So what am I doing? I'm increasing the level, the revolt, you the amplitude off individual frequencies to see what seemed there. It's like yours. It's like you're zooming. If we make an example of the video, you're zoom in, zoom into individual pixels and you realize there's rubbish in there that needs to be removed. Okay, that's what the problematic equalizer does. But this is not the purpose of this lecture here. The idea is that I would just explain that there's a lot more to be done that just increasing and reducing the volume too much, the music a lot more to clean your vocal recordings. 10. Noise Reduction: Inconsistent noise: noise reduction in Adobe Audition, you have two different types off noise. You've got inconsistent noise and you have the consistent notes. Then you think Well, okay, fine. So So what? There is a huge difference between the two. Not in definition, in the technique used, you cannot use the technique off The inconsistent knows with the consistent knows that would be a disaster. And if you take the consistent knows technique and apply it to the inconsistent boys, that's gonna be equally a disaster. Basically not really disaster, but it would not be effective at all. So in Khowst isn't noise. What is that stuff that is not consistent. Okay, the fan is consistent. The refrigerator is consistent to some extent. It it stays on for us five minutes, 10 minutes and then searches off on, then on again and off. But that's considered more or less consistence for a scene, right? If you're shooting the scene for 45 seconds, then, uh, real actively, that refrigerator is consistent. Okay, um, you have, um, a ventilator. Any kind of a motor, anything that is ongoing, repetitive thing that is consistent. What is not consistent? A dog barkin. Right? Stuff that you can't control your shooting somewhere just like we are shooting here. We've got the SWAT team intervening, and then there's a dog barking that the dog is not part of. The team is not part of the actors, but you can't control that stuff. However you can remove it if you want to. That is an artistic choice off, even saying whether we want to remove it. Actually, before you say, Oh, this dog barking is removing automatically. Does that fit in the ST or not? Because, honestly, this is a residential area on. It gives an idea that this kind off things belong to residential areas. So it's fine to have it there, sport. Let's say you don't want it there. I'll show you how to remove that. Let's first listen to the scene, okay? What do you hear? A lot of noise. Yes, that is a consistent one. But I wanted to focus on the inconsistent Don't try to say OK, Yeah, I got a dog barking, have got so much wind and I've got also the There's a lot of traffic behind and thinks I need to take care of the noise. No, no, no. No, no, You've got knows a and noise, but you've got to take care of noise A first. Have you done it? Fine. Let's now move to noise. Be two different things. Now let's just talk about the dog barking. Let's have you noticed I'm using the spectral frequency display. I I'm not using the way form because can you show me the dog walking? Here you comes. Okay. What? Can you show me? The dog working here? Of course you can MSM. I'll show it to you. You would be able to see sound if you cannot see sound You can't do proper work. Here we go. The closer much closer. Let me just highlight this area for Luke Display. Can you see it? Let's click again yet Look outside. This is the first. This is the second This isn't that our concedes. How could do something about it? What is that thing? Quite simple. Adobe audition. You have this healing brush. You click on that and you adjust the size of your healing brush on. You can very, very gentle E Yeah. Okay, right. You get a miss it here. Now this message. I had to find a video that is noisy As an example, you normally wouldn't have this issue. I am using a the sound off a video, the camera sound. So that's why I could matter. I managed to get all the noise because I need to demonstrate to you how to do know is if I take our own proper recording, that's kind of clean. What's the point of teaching you this whole thing? So I had to come up with something rubbish. Rubbish is what the sound of the camera sound off. The camera has picks up everything, so that's brilliant for teaching noise, which also means that audition is starting your old in a moment. You are giving me a video file. I am not able to change because this is not changing. What did he say? You do something in the way form, it goes back straight to your hard disk. If it is something the multi track using the effect here, fine. You can decide to apply them or not applied them. But if you do something in the way form and apply from the menu, here you are you are destructively changing the file. The file on the hard disk. So now Adobe Audition Just looking and saying, Oh, are you asking me to change video? Find I can't do that. What I can do for you is I will create another sound file that I will save with the video mix in the same location. Then you can use that one. But I won't go into the file where there's a video and audio unchanged the old you're inside that this is basically what this notification here is saying Thank you very much is I know. Okay, I'll come here and we move on. We're going to clear this parts and clear this part now what you could possibly do This is just a matter of targeting you listen to it. Let's listen. It's kind of gone, but what you could do is just specifically come here and then reduce their size off your brush one up too much and then slowly go through the last bits. Don't use it too often, as in past number one. Past number two past number three wasn't before because every time you do it, it is significantly reducing DDS off that sound. So you may end up with some significant gaps Just do it carefully, once or twice. Okay, so that should be the second time for me and this Spartz? Probably. That's it. Why am I not touch in here? Down here. This is the noise that is consistent. That is to be dealt to its separately with a different technique. I'm not going to touch it. Say your address. Inconsistent. Sound like dog barking. This with this technique with the healing brush with the consistent noise. It's a different story, and we see that next. 11. Noise Reduction: consistent noise Method 1: reducing consistent noise. How do we do that? Adobe tradition. There are two ways to do it. Okay. Causes knows as we have, they find it. Is your fan your, um Yeah, refrigerator, your whatever your ventilator, these kind of noises. They don't to be much, much easier to handle board. Before going any further, I would like you to pay close attention to the split in terms of responsibility between production and postproduction. Your role as a filmmaker is to make sure that your sound is clean during production. The fact of having some tools in Adobe Audition or any other software for best production of the sound for dealing with noise is not an excuse to record rubbish noisy sound for a simple reason that every possible thing everything that you can possibly do during filming has to be done, including gently asking the the location owner to switch off everything. Dad creates dark noise. And, of course, when you come in first, it's it all begins way back, even before filming during locations. Captain, When you don't locations, Captain, to choose the place where you're going to fill. Of course, there are technical Ricky's what are we talking about. We're talking about post production, um, sound postproduction, reducing noise in other the audition, Or are we talking about choosing the locations? Exactly. That's the point. When you come to Adobe Audition, it's I would say it's too late, but not too late for everything. It's just to handle the 12345% left, that's all. If you think it's just recording income yet, we've got some magic bullets here, some some magic tools to just press. And then, yeah, the noise is gonna don't worry about it. We'll fix it in post No, in the very first place, choosing the location. If you have a proper team, it's fine if you're a one man band, that's also fine. But you need to assume the responsibility off everybody in the technical Recchi. When you go on, choose the location. You need to pay attention to everything. Now you need to pay attention to a lot of stuff, but including sound. Is there echo there? Is it something? Are there any noises? And you don't go on a Sunday morning when you're going to be recording on a Tuesday afternoon? Right? You need to go at the very same time that you will be recording same day same time because things and places tend to be, quite, er on a Sunday morning, because it then gives you the wrong impression. Say, yeah, that's a brilliant places. Quietus for this is quite not because it's the place is quite because it's a Sunday morning , right? If you're gonna record somewhere, you need to make sure there is no noise. If they raise noise, then you look at it. They okay fun. I think we can handle that. Asked the question, especially if you are going to centralize big buildings. You go to a huge gallery, you go to a huge hotel, a big, generally generally big buildings that have a structure tend to be more difficult to address. Ventilation in hotels is impossible to switch off idiot, which basically means you need to be aware of that. If you're going to say, OK, I haven't I have a boardroom meeting and I'm going to choose. It's important to open these brackets about filming. We could talk about best production baby, if you if you mess it up during filming on during the choice off your location, what's the point of coming to Adobe Audition and and fighting with the most dangerous tool . There is noise reduction. It is the most dangerous. And I'll tell you why. It has a lot of side effects. If you go to say, for example, you have a boardroom same and you want to have a boardroom scene and you want to have a boardroom and think, Well, there are some gorgeous, beautiful, classy, luxurious meeting rooms probably would get the most expensive wonder that chain of hotels has. It looks brilliant, Fantastic. It looks brilliant, but I think is when you walk in, it could be underground. It could be an underground once. Tend to be really much louder in terms off ventilation. It could be just would closed windows, sealed windows if sealed. Windows that basically is there is ventilation is stronger. It simply could be whatever you need to visit the place on the first thing you ask. I mean that the minor details. The first thing is, when you talk to the person who visited there, you just ask them to be quiet for a few seconds and you listen. One of the examples we have is there was a moment display. Monitor a display monitor outside the door, outside the door, off the meeting room. There's a display. Martin, I think. Well, that's outside the door. But that think is so loud. The fan off the display monitor that shows this meeting off this room is reserved. It's like a fancy noise hotel with all sorts of technological. Thinks there's a There's a lovely screen there, but that screens got a fan and you can hear it inside the room that is really about. Do you want to record their now, Oliver off to you if it's your last choice, if the only thing you can do okay, but you're gonna have to deal with that, I'll show you have to deal with this here, but gotta deal with it when you're choosing the place. That's number one number two. Well, of course you go at the right time. If you're according on Tuesday afternoon, you need to visit it too often, and you keep asking questions. Are there any works? Plant. Is there any something If you're going somewhere to the neighbors, have dogs. Of course it's human. You have already asked the location owners if they have stocks. Did they have dogs? Is there something planned? All of this stuff is about noise as well. Most is about noise. If there's something noises, you can't record dialogue. Okay. Come here. Good. OK, the next spit is what filming Now we've moved to filming, assuming something has slipped your, um, attention. And you have noise or something you have to deal with, so Okay, fine. We know or give you an example. There was a huge restaurant that we agreed to with the owner was a great one. And I said, Fine, you could switch of everything. You could just switch switch off. All that said are the river refrigerators. Yeah, you could switch them off for For how long do you need? A. So I would just be shooting for about so many minutes dialogue on the because we switch them on again. And then once we move the broken of the scene that we come back and the real recording is just a couple of minutes. Just a few minutes, that's all. So we you always conceal that the problem is in the restaurant, there isn't just refrigerators. There's another big brewing machine that one we couldn't switch off. We didn't talk about it because I didn't pay attention that inside the restaurant there is a proven machine and it was on and that had Lord not a lot of noise, but had consistent voice that one we have to do with. No. If you reach the point of film in, then you need to see how you can deal with that. If you can't, then you reach the point off the first production and then you see now after how minutes have been talking about for seven minutes, just to tell you that 80 90% of the noise should have been taken care off during locations counting on filming. When you reach the stage here, when you look into the screen and think Adobe audition great, let's use some noise reduction techniques. That's only for the left overs on Lee for the minor things that you couldn't deal with. Now it's talk about how to do it. Okay, good. All right now there are two ways of doing it. There's the manual way on this automatic way. This is how I like to call them. I want you to work with the automatic way. Why? Because you are a good guy and you're gonna work. Make sure that 90% off your sound is gonna be clean before you reached you Come here. Then you can afford to work with it automatically. Okay? Otherwise, it's gonna be a nightmare. The manual way is quite, um, laborious. In terms off, you're gonna have to do it a lot of times. What do you have? A feature film. You've got one hour and 1/2 ago, two hours or whatever. Documentary off. One hour. You've got a project, whatever that is. Especially if you have narrative fiction filled. You've got a fiction film. Say, just whatever drama film, a scene where you have white short and then you medium shot and then a close up on the other one. It is the exact same recording, Maybe. Well, if you have multi camera, But if you have the seven the same file, you're gonna cut it. You're going to cut right? When you cut the same file several times and exported from Adobe Premiere to Adobe Audition , Audition is going to get different files. Okay. It's gonna get different files. So when you come here and you want to do the cleaning off the audio. Remember when we talked about the handles? The five second handles? You've cut it and you get five seconds and you catch another one. You get another five seconds. You are going to do the manual several times. Now let's go straight into demanding automatic, but I recommend you go to the automatic effect on you've got here. Noise reduction, noise reduction process. That's the manual on the adaptive noise reduction. That's the automatic. That's the one I want you to do. But art show you how to do this one as well. Now, of course, as usual, I'll take you back to film in. If you don't do something, then you really are bigger for trouble. There's one thing additional. In addition to everything I've been talking about, there's one critical think you need to do if you are in control. If you are. If you control the whole um, filming, that's that's taking place. Let's assume it is a fiction film on. It's about action. Um, sorry, actually was in a how, um as in George. But there is the director says action, and then the actors start talking. Does that look, There's there's there's action taking place. There is, um, there are protocols. Okay, protocols. 00 let's say there's a sequence of events that needs to happen before action is being mentioned. Said There's a camera rolling. Okay, why am I saying this is extremely important? And please, big close attention. There's coming a rolling. Okay. And then there is sound. So the camera guy say's camera rolling. Okay, that sounded sound speed. Then next, um, there's markets. So the cameramen order some or the director, whatever saves market, Then comes the person who has the clapper. And Mark's it by saying Seen this take this. Okay. Seen one a take three and then he collapse dot come up in. We know that one is helps for synchronizing fine, but once he clubs all the crews, quite the doctors are waiting for the word action. If you are the guy who is going to say action, guess what? You are in a very good position to be quiet for five seconds because that's what you need to do. You need five seconds before, and it's good to tell the crew on the actors that Okay, I'll be waiting for five seconds. Just didn't think that you've fallen asleep or something. Uh, you need 45 seconds before you say action. And when you say action, you cannot control them. Don't ask. Don't put the responsibility with the actors place. Just leave it with yourself. Don't say when I see action. You guys wait five seconds before you start. No, no, no, no, no. Give that we'd yourself. They've got enough things to worry about. The body stress. They need to think about the role of stuff. Leave that with yourself. Five seconds. Why do you need five seconds? Because then you can feed information to Adobe Audition and come up. Come with the gift Adobe to say This is nice. This is the noise. I can have defined the noise for you. So the first step, whether it is the noise reduction process on adaptive noise reduction, is to start with the noise. Now they found in the noise that manually, you're gonna do it manually for the 1st 1 for the 2nd 1 for this one adaptive noise reduction. You don't need to do this step, but you need to have it in the beginning Let's listen to this. It's the same scene as we have for Remesy, as we have for the e que so for explaining the frequencies. But let's let's listen to this even even earlier than that is Just got bit before, Okay? This is actually what I need. Okay, this is the part. Let's listen of the whole thing. You work seven days a week, you get the point. So this this word here action. But that person has been quiet for some time now. This is just a little bit off it. And this is why you need to be very careful with the handles. When we said with exporter of other gopher Mills Adobe Audition and it's asking for the handles. You don't live it to the default off on Second, which we don't think why. Adobe developers have left out one second. They should know more about these noise reduction. Thinks you need at least five seconds. Okay, so this gives us the opportunity to get inside the action and the rest. So what can I do now? Well, does I Don't be auditioned. Five seconds different. No, it doesn't have to be that long, but when you go with five seconds. You are OK. OK, let's come here and listen to this. This is noise. This is your noise. Okay? This is the noise that you are going to define. So I have selected this first step is come to effects on noise reduction. And there's one above it. If I go straight to noise reduction process and actually conduct is gonna tell you. Hold on a moment. Noise brint and defined. You haven't given me anything. You haven't fed me noise so that I can work with it. Okay, Sorry. Let's go back and do it. So this is why you don't go straight into their. You need to go to capture noise, print when you capture the noise print that it says. All right. The current audience selection will be used as the noise sprint the next time you apply the noise effect. Okay. Now I have skipped a step, but it's good to skip that step, to show you what the impact is because basically, you're gonna have to do it again. Well, let's see. I come back here and ordered a moment. Adobe developers are again not helping us a lot because when you do capture the noise, I would have wished that from a just getting a little closer to the to the consumer. They should have automatically de selected this area because that's what should happen next . I need to dis elected. So why not develop? Have it as part of the code that once when we get the print, the noise sprint, we automatically need to de select why it's important. Because if you keep this selected and you do all your fancy work, you're just cleaning the noise inside this print. But you keep the whole dialogue noisy so whatever is selected is gonna get cleaned. This is what I mean to dis elect This way. If you apply it, you go to noise reduction. Nice process. You are going to apply to the full. Okay, now, sometimes it sex the whole clip. Sometimes it doesn't, but it's the whole clip all the time. If I come here, then we're going to talk about a few things. I am not your classroom teacher. I'm a filmmaker. Which basically means I I'm gonna take you to your roots, your workflow, what you need to take care off. It's not about pushing the buttons. It's about what you should avoid. As I said, this is the most dangerous tool you can work with in the whole sound. First production sweet anywhere. Any software, anything that say's noise reduction is don't most Andress. So we need to work with it very, very carefully. Why look at this like a medicine? Okay, I'm not referring to natural, um, medicines. I'm referring to chemical based medicines that you find in pharmacies and stuff. OK, they always do what they say. And guess what? Just like them. Noise reduction tool does exactly what it says. It reduces noise that is guaranteed. Now, if you do it properly, it is guaranteed. There's ah, if you open the medicine stuff, there's, um there's a little any in in the package. Whatever medicine you buy does the package does small paper, and somewhere doesn't side effects. Okay, Now decide. Noise reduction has the same thing. He's got very nasty side effects. It is the the one with the most side effects, right? That's what I'm saying is dangerous one. What? What are the side effects of reducing noise? It distorts the vocals. Hold on a moment. I'm going to solve a problem and create a new one. Exactly. You take a medicine for your stomach and you end up with headache or you're dizzy. That's exactly what happens. So you are creating a problem by reducing noise. Whether you like it or you don't think is how visibility you want to make that you can reduce it gently or you can go brutally. You should do nose reduction in waves. If you can't and do it step by step. Let's look here. Let's go to a party for two to the default are common now. Initially, I think I don't remember. Actually, they've changed it because initially was 4000 on. If you open your adobe audition and you find 4000 okay, whatever it says that we need to do it again. This is what this is. My point. I think that Adobe audition after I don't know how many years they realize they need to change this. Initially it was 4000 and that was the wrong way. After in it, you cannot go that biggest step or 4000. You should start with 512 bit by bit, just in small chunks bite sizes. Let let it analyze bites, has it. And then it could work on them at the same time. Sort of going wild and covering 4000 once. Okay, so that's number one important perimeter to work with. Because the moment you change days, you gonna adobe audition is going to say, although the moment that noise bring that you gave me it ain't good anymore. I need you to re selected because you've just changed fft size. Okay, FFT size needs to be the lowest possible for this one. Keep keeping on 5 12 Because for the other one, you're gonna have less than 5 12 You can say that for 5 12 You're good to go, OK? It's not think it's not too big. It's not too small. We're good to go with 5 12 whether in this one or the automatic one. Okay, so that's number one. So now that we've done it, we need to come back on. Say okay. Sorry. Let's redefine it again and we come back and redefine our noise. Redefined. Thank you. Thes select. Of course on we come here and say no production captain knows bosses now would we look at this and say Okay, what is this? Wait, that's not the most important one. This is a small, most important, if 50 size. Okay, let me show you something else. Reduced by 100 db. Um, should I show you the receipt before disaster over those off the medicine? This is your overdose. It's 101 104,000 But just want I don't want to change that ticket if I change the way this is gonna ask me to retake the prince and stuff. But you get the point 101 100%. This is the your disaster. Why? If you want to get the worst result, you're gonna get it with this one. It will take away the noise that guaranteed because it's killing everything, including the vocals. That's the problem. So you know what? I'll try to. I was hoping to show you do to make you okay too, to play it with disaster formula, but because we've recorded it not so bad. It's not gonna sound as bad as it should. What we can do that? Let's just listen to this. If I say applies gonna be a problem, so I don't want to apply it. I'm just to press play York seven days a week, 12 hours a day. You started 50 clock and you get two breaks of 10 minutes per day, one day off per month and the busy period to stay longer. An absolute disaster. Okay, so why you might starting with 110 uses asked why did I do? Why not go straight to the figures that the figures are gonna depend on your recording? But I'm telling you where you should start. It can't be somewhere here. It's got to be somewhere down here. And you already see that they give you 12345 to 10. And then they say, Are you sure you want to jump to 20? Are you sure you want to go to 30? You need to make sure that you are really much lower. Starts very low. Okay. Reducing by 10 TV, I think. Okay. We can waken start this and see how it goes. If something happens to your good danger, we don't know you much better. Yes, you keep some of the noise, but some of it could go for his breathing. Okay, Let's increase it by 20 and keep the 40% noise reduction. These other three bottom it is. You want to worry about 12 on three. 50? Yes. You've got the spectral decay rate that you can. You can drink it with 0% 60% and you see the effects. But the most important part is making sure that you are not too high on the noise reduction and you're not too high on the DVDs. Let's look so let's listen to this. If someone asked, you don't working. Okay, let's go back a little here. So doing manual with it starts right at the dialogue. Ongoing of 50 on 30. This is quite an adventure, York. Seven days a week. What of hours A day just started. 50 clock and you get two breaks of 10 minutes per day. The rig back to 35 one day off per month and the busy period to stay longer rights than 65 . This is what you need to do. It is not about Okay, so give me the magic formula. There is no magic. Former. There is your recording that you know you've got a recording that recording of yours. That's what's gonna give you your numbers if something Abbasi or get injured, we don't know you. Okay, this is clean. 65. 30.6. That's for my recording. Not for yours. Okay, so the idea is that you are going to play with this parlor meters, Know when what they do and gets a result that you want. But hopefully you don't even need to come here and work with the man. Well, because I'd like you to work with the adoptive won. The adaptive can sound like a bit magical automatic, but you just need to know how to deal with it. Most of the time, it gives you wonderful results. 12. Noise Reduction: consistent noise Method 2: reducing noise with the second method which is here. Effects, noise reduction on adaptive noise reduction. What is this? What is really happening in the background when you say automatic? Okay, fine. It's gonna be done for me. That's not true. When you click on adaptive noise number one, you get this dialog box. Okay? You have two different ways off going about it. You bring it from the menu or you bring it. And that applies for both. And the manual adaptive one with automatic one. Or you bring it from the effects track. And if you can't see the FX strategist, go to windows on the if extract. Okay. Right. So you click on this and get noise reduction. Here. You have your Sorry. This is here. You only have your adoptive noise. And I would recommend that you do it here. Because when you click on this, it then tells you, holder Mom, the selective effect may not be suitable for real time playback. Blah, blah. What is it telling you that it is going to apply the effect once you apply it? The exported audio is gonna be what it should be. But the preview sound to say playback sound playback sound is not necessarily is not going to represent the real result, because the calculations are intensive. CPU intensive. Do you now remember when I talked about getting stuff from Adobe from year to adobe Audition, getting your sequence and there was that chose there that says, Do you want video with Dynamic Link or do you want to export to stand separate TV DVR Separate video? Now we haven't even started, and we've got this adobe noise reduction, which is showing us here that it's incipient intensive. So give yourself enough room in terms of calculations, terms of resources to focus on sound. Don't let the video take off that as well. So this is why we need to make sure that we get the video separate, not very dynamically. Okay, that about okay, we get that notification that it's in red in red y because it's telling us, but it's not gonna play back properly. But once it supplied, it's gonna it will be what it should be. Calculations will be done for. Okay, Now, if you do it via the effects menu that's going to be different. You're not gonna get that because it's gonna be applied directly and again. Effects truck. You have more control off undoing it to just go back there and remove effect. But when you have, when you apply something here, it's done. It goes straight to the file in your hard disk. All right, What is this? How different is this from the one that we had before? Now what is happening? Really, in the background? What's happening is that, um you know what? Shall we listen to it and see what is happening? Let me just close this, which basically it is applied with the part of the default parameters. Let's say we don't care about them for now, but it's Justine. What's happening? Have you noticed it started just with all the noise as loud as it wars. And then slowly it started fading away, being removed, adaptive, it adapts and thinks there's no dialogue. Okay, I'm going to remove this, but it has taken a little while, has it knows what this is why I am asking you to get the five seconds before not after before every recording. And it needs to come in the handles as well. You can't come with one second handle. That's not enough. Because if let's assume a start immediately, let's assume that your, um your file that the stuff that you've brought in from anywhere into Adobe Audition starts immediately. Here. York. Seven days a week, 12 hours a day. Have you noticed the noise that was there was still there? And only over time that when we reached this spot here over here that it started being removed. It managed to identify all These are vocals. Yeah, of course. And then the noises between 0 100 frequencies that we should kill. There's another noise somewhere else. Okay, we should get up. We're already one second. One second that I have further in the diet. Logan, the audience has already heard the noise. That's why you need your handles. The five seconds handles on these handles are relying upon the fact that you have already given them five seconds in the beginning when you were filming. Okay, so that's important. So when you start, you're gonna just come here now to the perimeters and work with the three most important wants. You can tweak the other ones to your liking. I'm gonna show you the three. Most important was and again you see the FFT sizes that default 5 12 It has always been like this for adaptive noise reduction. I think it may still be the case, actually, for them, Man, you will want that. It's four K's 4000 because I've been working to 5 12 for quite some time, and audition may have remembered my sitting. If it's for a 54,000 for this one for the North selection process, please change it to the fold 5 512 Because you see here what they have this desire. Let's go back custom Afghani to remember that my custom Because I'm using this actually, on the time 15 30 years ago. Okay, um, that the fourth values are gonna be No, I didn't load the default Five years, actually. So it was not lying to me when it said he didn't load the values. OK, I don't know what your default values are not be working with this one with several languages switching back and forth, and between several languages off the interface and other traditions A bit confused now, But whatever, um, you notice that we have noisy nous on reduce noise by this. These are the exact two para meters. But their like this was number one. We started with back in the manual way. And this was number two. I would have wished that they would stay. Keep it a bit consistent on the first part. Meat kind of the man will is the same as the first part meter. But whatever. Okay. You would expect that this would be first on this one. Didn't next. But anyway, reduce noise by where you know this one. But it can only go to 40 db. That is a change, is it? No, Because in here, let's come here and look at reduced noise process. I'm sorry about I've got two of them next to it next to each other. Yeah, I could see that. So I got this problem of always say all right. Sorry. Noise reduction. Is this one noisy nous and reduce by is this one. But here you could go to 100. Here you're limited. Why? Because this is an automatic one. So they cannot really run risk off giving you something that is rubbish. 100% is rubbish. By default, it's a safe approach and I think this makes sense If you really want to know what you should be doing in the manual one. Come and look at the defaults off the automatic one. They have spent time thinking about it in the automatic one and adaptive one more than in this one. That's why in here you find all sorts off Unclear. Uhm unusable sometimes unusable defaults in here you're gonna find not so bad they really worked on this one. It looks pretty cool now, in my case, I go to 15 and I don't remember this was 30 30% the key Would noise reduction always go small? Start very small. Always Thoughts are very small And have you managed to get it? Find Stop there because it's like you are taking away from noise and you have to stop the moment you start touching the vocals You you cannot just take a big chunk not know in that part of the voices in there, Right? So this is why you start small and you end at the vocals. Let's look at this one lunatic away this one and let's play this and see what we get. York seven days a week, 12 hours a day. You started five oclock and you get two breaks of 10 minutes per day. Don't pay too close attention to the level of D. Beats go into ministry and stuff that's very high. But that's a different story. Other than that, we are doing pretty good compared Teoh compared to the manual way, which is a bit well, you could you could you could increase this if you really insist Dizziness. It's a matter of 21 day off per month up now it's a bit seat. It's distorted. It is distorted. Can you listen to this buff? You can hear noise. It is there, but it distorts noise. It's doesn't remove it. So let's go back to our 13. Um ar 15. Sorry on 30 cause these were my defaults for court a long time. Yeah, if you want to copy someday Force, that's 15. 35 12 as go back and listen to this Yorke's So I need to started a bit earlier. York, seven days a week, 12 hours a day. You started five oclock and you get two breaks of 10 minutes per day. Okay, cool. So this is have you up by your adoptive thing, your adoptive noise. You don't need to define what noises because noise is known to the software to develop to developers. It stop. It means you're on one frequency. It's it's. But there are. There's a formula behind it. That's why I wanted to be in the position where you've done so well during production. That's when you come here. You can afford to run an adoptive noise reduction. 13. Noise Reduction: what stage & how to automate for several files: At what stage do you do? Noise reduction. You do it very early on, actually, preferably before even starting video editing. If you haven't done it before video edit in. Fine. You can take the exported audio of wells that came as part of the transfer from Adobe OD Premier Adobe audition. Let me take you to this. When I exported this adobe audition, do you get a folder called Adobe Audition Interchange? And here comes the name off the sequence. So the sequence was called for Adobe Audition, and then you've got a huge list off files that were created based on your timeline. Let's go back now. Now you can take these on work with them for sound Collini in. All right, You do that before? Definitely, Definitely. Before you start the other sound first production techniques. So for Louise, actually, before moving into the multi track, you could easily do it before even moving and moving to the motor truck session. Right, Because here you're gonna work on individual files, but noise reduction is going to be done with what? Not one group with groups. So if I come back here and I look at this, this is just a list off. What off? Or your files? And some decay air files that come with desire. The fires are created when Adobe Audition session is open. Opens a file, then you get a PK five. But you've got your sound files. Once you have your sound files, you are going to take group by group. And how do you group them by location? By place. Have you been shooting in the surgery room? Okay, so take all the files from the surgeon room and it's go generally going to be a matter of scenes. Actually, you will capture the location from the scene. This scene was in the surgery room? No, we've had three scenes in the surgery room. We've had five scenes in the restaurant ago. One scene at the military base. We've got this at every scene. Sorry. Every location is dealt with separately. As a group. It needs to be the noise based on the noise that is in there. So that I know is that you've got in the restaurant is different from the ones that you have in the military base. Different from ones that you have in the war scene is different from the noise that you will have. Every location is different. You cannot apply the same profile. The same noise profiled same nos para meters to allow the files of the film, so it needs to be based on location. Now you are going to select the files that relate to those scenes on your going to do the following. Let me take you now to the to the automation part because if you're not gonna take filed by filing that easy end up with 152 102 150 files, easily independent files, sound files. There's no we're going to do that one by one. So once you group them, then you end up with what the number of locations that you have, that's all. How many locations did you have any film? One location? Well, that's great. Well, I'm not sure it's great in terms after feeling production value, but unless you're doing sci fi film in a spaceship, but that's great for sound, it's ah, is it 10 locations that is gonna be 10 groups and you going to do the work 10 times, but it's quite automated, so automating it is a matter off recordings. What you are going to do is to come to the files part here, right? You could possibly just completely open and new Lett's open a new one. Okay. Um well, I'm gonna keep this one open because I'm gonna need to come back to it, but you can open completely. New session, An import in the file. Stop here in the fire. Stop. Import the group off old your files related to one location it one by one, or if you prefer. Actually, you know you could create folders and have folder here. Import folders like tenfold as their locations find. The point now is that you're going to take, say, for example, one here. What you will do is the first thing is to record the action. Automation is based on recording. You need to tell Adobe Audition. What should I automate? I need to repeat. Automation is repeating things 150 times, 200 times 1000 times. What do you want me to repeat? Adobe position is asking you. So you come here to favorites and you come down to start recording. You say start recording. Then it gives you a favorite is currently being recorded Our favorite little favorites that you record one of its defining. It's the definition you can. You can read this at your own discretion. Okay, Just this state started recording. You start recording. Click on. OK, I Dan, move to the noise reduction. Adaptive noise reduction. I am assuming you've done everything you need to do during production by leaving the five seconds I'm assuming when you move your files from Adobe Premiere to other me audition, you have already gotten your five seconds handle. Then you can move Adaptive noise usually combat you, uh, experimented. See, all departments is that you need to set right? Is this Are these the rights parameters for that location? Find then you click. Apply when you click a ploy. Uhm I'm going to say you know what? I'm gonna do it now anyway. Yeah, let's do it and say a ploy. Okay, This has applied it sort of, but I just sync issue on. Then I come here back when I go to my favorite and stop recording favorite. When I say stop recording, it gives me save Favorite. This is the automation part. You are going to save a preset your precept. Location number one. Okay, this is the preset noise profile to be applied. Not most of the clean in para meters. Noise clean in construction permits for location, one click. Ok, you're done with recording it now. You're going to take what? We've done it for one file. Now you're going to take it for all the files. Say these are defies that we have and you're going to go to window. But process compact a process. Then you get this lovely window here. This is how you automates the same process for all of them. Now I come here and I find Let me just load all of these. You dragged them from the fight and you put them here and you come to the favorite. And I remember I've created something called low Station one. This is it. Location One. That's what I need. Location One favorite and the right funds that I have to apply to. Good. Now be sure that you do not apply the same profile. The same denies into the first file twice, right? So you don't do it this because we need to undo. Actually, let me just go back. You just make sure you undo this goes this will just make sure you end Do that noise reduction that you've applied to the to the first find. That was just recording. You need to do that. Okay? Otherwise, you'll apply it twice or you don't bring. Get here. Just bring girl does this? Let's remove this one from here. It's OK, then. I bring going to the other ones. Good. So I have them here. Is it enough? No, I need to set the export perimeters and they're down here. Export perimeters And one of the most important things to know is that when you recorded with excellent boom microphone with your excellent level years with whatever they are, they are just moan aled drugs, no matter how good they are, they're muna tracks. And what do you need to have at least stereo? So this is your lovely opportunity to avoid a matter way off converting the Morneau's into stereos just by adding a mother one in the track below it and all that nightmare you We don't do it that way when you are applying the noise reduction, a spot of the new saving you say export settings. They need to be stereo. Now they come in as moral seat here channels. It says more. Know that all mono you can't go with, the more you got some amano sound to the to the after Cooley's or I'll be a disaster to AH TV station that you can't. You need to pay attention to these kind of things on. One of the things to pay interest is the delivery. Technical delivery requirements that you get from the client from the television station from the theatrical release for the festival is centered. There are technical delivery requirements for the video and for the sound. And for the sound is going to say, for example, for example, a C 48 killer or killers. Whatever. This isn't that, and it needs to be at the studio. So if you have surround sound, fine but at least stereo so you can be more. That's tell your bids. You are going to change it here some pull type and then you've got 40. This is your ideal stuff. Starting point for TV 48 Killers, aka Change could it can change, and this is where you set it is it moral? Steady on, Of course. Need to go with stereo. And then you set for Phil. It's always 48,048 kilohertz for 7000 one. Big depth of go. Echoed with 24. Okay, so these are they? Well, you go which it with what you have in your technical delivery requirements Page. Okay, so if you if they have something different, you go with that one court, generally, these aren't for him. It is that you have. Okay. And then you click, OK? And then you click on run when you click. Run. You are the noise in all the files at once. And then you move to the next group location, number two, military base or the war scene. And then you take all the scenes and apply exactly the same adaptive noise that you have listened to. So you're going to go through the X each location on your record and you check whether the perimeters are okay. Making sure you only remove noise. You don't distort the vocals don't distort other sounds. Okay? This is how you automata your, um sound reduction 14. Singe-band compression: compression in Adobe Audition. How do we do that before we move to? How do we do that? I'm going to tell you that in Adobe Audition, you could be a little bit confused. If you look for compressors, you are going to find too many. Why? Because I think it'll be has not been cleaning the list of compressors have just been adding things which could give the impression the wrong impression that these tools, though different things they actually do exactly the same thing. Let me show you effects aptitude you have here dynamics compressor. That's number one. And then we have effects. Amplitude. Then I'm explosives in. That's another processor. So if you move this, you're changing the promises off the compressor, okay? And then we have effects. Um, that I'm making compression a political compression. You've got the single band compressor, and it does exactly the same thing. And you come here to effect amplitude more Tibon compressor on it is doing the same thing. But this is different in terms off. It's targeting different ranges of frequencies now. Okay, which one should I use? That could be the question. The first question. OK, which one should. I used to tell me first what compression is. Why do I need? It's Why do you give me the impression it's compulsory? Haven't been doing it so far on which one should I be using? Let's start with the need. Why do you need to do it? Why is it a must? It's a must if you're sending it to the cinema for theatrical release. It's the mastiff, your similar to television, and I really urge you to make it the most for your own. Make it decide yourself that it's gonna be a must for you, for your individual portfolio projects. It's just for you. We're releasing it in Vimeo or YouTube. Whatever. Make it a must, please, because that's the professional level, off off production for sound. So what? What is compression? I would rather start with. What problem is compression trying to solve? What is the problem? The problem is, and I've chosen this scene for simple reason. It's not only the scene, it's actually most scenes. It depends on your footage, but in this scene, what do we have? It's a dramatic scene we've got here. Just little about the story. There was a father, his father and daughter here running away in a war zone. They were just caught in a war zone, then got nothing to do with all that. They were caught in the middle of the fire exchange. The father was trying to save his a little daughter, but got hit with a bullet in the head. He is dead. He died on her laps. She is crying Now we have two things to levels of emotion, too. Dramatic messages we want to convey not messages, but to dramatic styles. I would say we have when she is so been, which is like deep pain. And when she is crying and that's bursting out. She is so been say here. And she is shouting and crying. That's quite loud in here. France. OK, now imagine you are old and audience. You sitting at home watching TV or in the cinema and then she starts screaming. No, If you start screaming, guess what? That is quite loud. Okay, you may be tempted to avoid hurting your is. If you have headphones, it may be tempted to use to reduce the volume. You have a TV, you're you're reducing your using remote control. Okay, Now, what if we move back now? Here. If she Because after there she starts. So been again? We can't hear which he we can't hear the sound because we've just reduced the volume because she was screaming. Going to think this is not a way for an audience to experience your production. It needs to be consistent. And my suggestion that you are going to impact or lose the dramatic depth off your scene just because you need to get those closers each other. No, we're not going to have a uniform way form. Absolutely not. This is not what I'm suggesting. This is not what compression is going to do on compression will not thank you for that because it didn't come for this. It came just for solving a specific issue. It's not here to ruin your drama, right? So what is the solution? And the solution is only to tackle the highest parts on the lowest parts. It's not about Okay, we're gonna have to reduce this a little bit. No, we're gonna have to bring this closer to this, meaning bring them both together. So compression in simple English terms bring the highs a little bit down on bring the lows and let it up so that what we call a dynamic range is less big. Let's big of a difference so that what's the dynamic range? The dynamic range is the difference between your highest big your your loudest sound on your quietest sound. So you probably quite a sound somewhere here, which is so big, really quietly. The difference between here and here is your dynamic range. Now it is too high. We just bring this one closer to this one. How does that happen? Let me now show you, and I'll tell you which compressor two years now. Hopefully, it's clear what problem it comes to solve. How it wants to do it. Let me show you which ones you want to use. Amplitude multi band compressor. Do yourself a big favour. Treat your project. Your project deserves this. Use the multiple compressor every time, however, for the purposes, just off explaining it, especially if you are a beginner. I will use another compressor because this has too many para meters and it could be a bit intimidating for beginners. Let's come here effects and amplitude dynamics. I'm going to use. The latest storm that has been added to the Adobe audition is this one. It looks quite simple. It has 12345 meters. All compressors have five perimeters wherever you go, even in other software, even if you are using the same another compressor in Adobe audition. Or if you go toe pro tools or audacity off, use it in fair lines. In the individual results, it's all the same thing, the same concept. Five for a meters, and they are always threshold. Rescue attack will ease and make up the name and can be different and what you are going to notice. And this is why it can be quite confusing. Some of the adobe tools can be quite confusing that inside Adobe Audition, these same para meters can be called differently, and that's really inconsistent and it's not appreciated, I told we do not think I don't before this. Let me just check Ah, single ban compressor. Do I have this? I want to show you everything so I don't have to go to the effect track to do it from the effects rack dynamics. Then I put it here. Then I grab another one, which is Let's go to the multiple compressor. Do we have a terrorist? Gay? Okay, there's this one, for example. Threshold ratio, attack release. All the same, you come to hear to the fifth honest, say makeup on here it says Game. It's like Is it to make uppers again? It's It is. It is the same thing. I would have just wished that people who are taking care of Adobe Audition they realize that they already have compressor. What did they call it? He called it makeup. Okay, let's call it make up Or do you want to call it game? Okay, lets them call it gain everywhere because it is the absolute same compressor. Sorry. Same barometer. Let's go to another one. And then I think, and Montebrun compressed single bound output game, same story gain output game, makeup. Why would we call the same perimeter differently is exactly the same thing. So this is this can be a bit confusing. So if you have a choice I'm giving you, I'm suggestion to use this one to explain with this one. And to use this one if you insist on using another one, all I I'm doing now is telling you. Listen, don't get confused if you want to use another one, because it is just the same thing. Just name in convention. Well, is not respected. Actually, it's not consistent. Disclosed this unexplained. I want to use this one from explanation. Okay, I'm repeating this just for explanation. I don't want you to use it, though. It's good. It is good. Only use it if you really are in rush on and quick and dirty work and stuff, but your project deserves more. The perimeter's threshold ratio attacked. Release makeup. I'll explain them. But I'm sure that your problem is not understanding the perimeters, because I will explain them quite quickly and you'll grab them quite quickly. No problem. Your problem is going to be what number should be there is understanding. What it does is not enough. Let me address these two. Number one threshold quite clear as of when a za four decibel should the compressor start working. But that one is simple compressors talking to you. I am okay. I'm gonna be talking like the compressor now to explain things the threshold as I find you want me to work minus 20 to be OK. Minus 22 B. I'll start working, but I will not start working until it reaches minus 20. Minus 20. Be from where do you start from? Zero. Would you start from what for? Minus 20 killers. 20,000. You start from minus 20,000. You compress when you think. Actually, how does compression? No, there is a problem. That problem we talked about it knows there's a problem when somebody starts screaming when ? When? When it's too loud. It doesn't look for the low ones. Yes, it in the workings that it makes the quiet sound louder, but it doesn't look for it. It goes and looks for the highest ones when it's hide, and it says Okay, now we need to do the work. But the work involves the nose as well. It's now looking for the highs. What is the high? So this is how you define The high is minus 20 db high. Of course it's not. You can absolutely go with the limit at minus six. Option minus six is fine. Well, the dialogue minus 12. It might dialogue somebody talking normally see in the meeting room, and people are talking about business There's nothing Nothing about emotions there and it's minus 12 db So why is this one is 20? I will tell you why it's minus 20 because the way it works is different Then then just removing everything. It's not limiter Now, this ratio this is this is window I wake up to make the work. When did I switch on as a compressor? The racial sending you OK, by how much do you want to change it? This may be simplistic and it looks Yeah, that's the number one. So I could make one I can make to and I could make three. I could make four. This is written wrong. I'm disappointed in adobe addition to write the ratio wrong. This isn't how it should be written. Because if I want to explain it to you now, I can't explain to you with this wrong writing. I need to go to a proper, um did effect a proper compressor and explain it to use in this right? This is how ratios written. Please ignore everything. This is like in your mind. Try to blur everything else. Look only at the ratio. Don't look every anywhere else. Just ratio I'm just trying to explain this bit here. This is the wrong way to write it. This is how it should be written all the time because it is 2 to 1. 1 to 1 three. Okay, 121 means it's not working. It's it's It's not active. It's not doing anything. 2 to 1. It's doing something. 321 4 to 1 20 to 1 is aggressive. 32 1 is very aggressive. Okay, let me explain. Is using the example off a Friday night on. People are drunk and the police is thinking Hold on a moment. There are some people that could be driving while they've had too much alcohol. Right way Don't want that. So where did they go? And they have roadblocks. Um, they blocked the road and they start doing there. They get cars. They just asked gently the car to pull to the side. And then they do their Arco control. But if the traffic is deserve traffic, they're not going to do everything. But here the ratio. Let's say that this ratio is going to give the exact number off cars to the police for Uncle Control. Right? So what is this? So when you say 2 to 1, this has really rubbish. This this is this is this doesn't tell you anything. 2 to 1. What does this mean for every two cars? No, you may be thinking Take one to the side for alcohol control. This is exactly the opposite for every two cars. This is why this one is very, very, very criticism. Most important in understanding the concept is the one. It's not too here. The two you can change. But it's the one that matters. And it is completely different from this one. That's why I'm severely disappointing and population because they could easily confuse the beginners. This one and this one are not the same because this one is the car that the police will let go without control for every two cars. Let one go for every four cars. Let one go. Don't control it. This is how the compressor works. Let's come back here and I'm gonna keep this one open just so that we refer to it. What is this number? This blue. At least they have the colors consistent a bit. That's nice. So is this one over here? One means it's inactive for every assume. Assume, assume, assume. See it visually in your mind that you have this These $2 here and one year on the site 1 to 1 for everyone. Car. Let one cargo which basically means the police is just sitting there and watching and doing nothing. Right? So for every two cars now, now this is the equivalent of this. Oh, sorry of this is the same thing. So for every two cars, let one go. The most important is the Let one go. That way we can see here. Okay, let's close this one. The story is clear. Let's go back to sound now we dont have any cars where we don't have any police Have any uncle Control? Talk to me. Sound wise. Sound wise for every two decibels. Let one decibel go and killed the other one. So for every one of these two decibels for every to the symbols beyond this money's 20 it doesn't mean the threshold. I'm going to stop everything. No, no, don't let everything go beyond this. You are going to let something go. But I'm the one who tells you how many I'm gonna tell you for It's always one one, but out off him harmony. If it's then I say for everything. Ah, that's and that's That's lovely. That's lovely Them to show you another limitation. Onda amplitude just also ended effect. Now it has become here. I'm going to write that it will work, then works here. If you try 20 it doesn't work. It takes you back to eight. If I say 30 it will let me do it because I'm the boss here. I'm deciding in this multi band compressor. Listen, Adobe audition Adobe, adobe, adobe, make some tools sometimes Just simplify. I think this is not. This is made for the absolute absolute beginners who on day thought, you know, these guys were just starting using a compressor they made. They may hurt themselves so we go into put protection will protect them if they don't know what they're doing, which is going to protect them from hurting themselves. Don't hurt yourself. Don't go beyond eight and it makes perfect sense for somebody who doesn't know what he's doing. If you push it up to eight, you're gonna do something. But you're not gonna hurt yourself civilly to go 30 you move, you're hurting yourself. But here they say, Hold on a moment. If you go to the Monday band compressor, you're a professional man. You know what you're doing. So guess what we're opening there. No protection. Do it for yourself. You won't 30. You know what? You know what you want. Authority doesn't make any sense if you do 30 for simple reason that you don't know what you do because 30 is a limiter is about it is it is just about to be a limiter. For every 20 for every 30 cars. Let one go. So 20 cars are gonna be controlled for alcohol out of 30. And one is you Let one go. That's almost a limiter limited. Basically, you don't let any cargo, right? So this is why I really urge you at the end of the day to work with multiple compressor, but still show you that there are some limitations. Okay? With the idea Quick and dirty one. It's a quick and cute one, but it zee it's limiting. Okay, right. So But honestly, I would be really honest. This is one of the instances where I really agree with Adobe perfectly I don't think you are going to reach the in your projects in 1991. 99% of the cases. I don't think you are going to need to go beyond eight and in my formula. And I'm gonna give you a cheat cheat like the for cheating like and give you all the numbers if you know what you're doing. A good order numbers. They always work. I'll give you a set of numbers that always work, and they stop a beat. That simple. So it makes perfect sense, but, well, your professional wanna have more control if you have some stuff. Okay. If you have shooting, I've got another scene here. There's another scene. I think it's just somewhere to the right. Yeah. This this is this is we have a shooting going. I'm just show you. Let me show you. Because it's a It's not about, um here. These are what you see here. Just be closer to get getting closer. This guy's gonna shoot, so I just certainly trying to get it. All right. This one. Okay. Not you. See how loud this sound is. Yes, You get it. This is zero. It's clipping But which sound is this? This is the camera sound. Two explained some things. I take the wrong the wrong er sound file their own clips. It does. This is this is absolute disaster. But you know why we have this. This is not muzzle flash from after effects or from some composite or a new Korean. This is real stuff. This is a real weapon with bullets. The bullet? Yes. For safety purposes. On set, we have blanks. But there are loud Why my say in all of this, Because when you reach the compression and you want to use, let me go back when you want you want to use here? Um, this dynamic stuff eight is not gonna cut it, my dear, it is not enough. So you need to go to the proper way of doing it. Which is the multi bound on. You know where this is? This is gonna be in a specific frequency of the arranged and you look for the frequency range and you can go full. That frequency range wild with 30 30 is like all but that's a limiter. Yes, you are going to apply a limited. But you could go with 17. 30 is a bit too much, right? So you will have a limiter anyway. You could you could go. It's it's It's your choice. It is your choice. But there are exceptions. Situations like these where you need to go beyond the eight 99 components and percent unless you have another explosion we have. We have another short up. There's no point. Let's just talk to you about There's another shot. We have an explosion. It's not an explosion. As in visual effects, it's special effects. It's a real explosion, and it was bloody loud and the microphones go crazy. But we have our ways off recording this kind of stuff. Of course, you've got the spare tracks he recorded three times in the same recorder. One track. You think? Yeah, that one would try to get it right. It's never right. The 2nd 1 is gonna be minus 10 minus six. Afghanistan. Debbie's lower. You think that's our safety safety net? Guess what? Even your safety not to go to be messed up. That's gonna be unusable because the bullets and explosions are really loud. Um, on because you're so close to the action with the broom pull that it's gonna be really bad . And with your planted microphones on the third track, which is going to be the the one that you think this is really low, it's minus 15 minus whatever. We don't think we're gonna use it. That's the one you're gonna end up using. So the huge difference between what you see here and what you see here is the difference between the This is what you shouldn't have. And this is what you should have. Now I do think that minus 13 for bullets is a bit too quite. Yeah, we need to be somewhere around minus six, minus three, actually to bring it back to minus six with a limiter. All right, Now I close this bracket. Is I important things to talk about during filming and why we're talking about this? Because we came here and said, Well, limiter that stops that AIDS is not something on use All the time on a professional has got the tools for every single situation. So let's go back here to our other. Um, I would go back to multi track. Where was this that was here? Yes, was here. Let's go back to our compressor. Now this. Now we know what this pressured us. That's most of the next one. Attack is simple. How fast do you want me to start working? That's the compressor. Talking on release is how fast do you want me to stop working? Yes, I know. Average minus 20. Db. How fast you want to start working? You may be thinking, What kind of weird question is this? Just start working, man. No, Um, you made it because this is voice or sound. This is this is sounds go back two days. This is sound and sound is not a block that starts from jumps from zero to whatever it gradually increases on. Gradually decreases. And it's got a tail. It's got a big inning here and a tail see? And even what Somebody start. Stop speaking. There is a Dale to thinks. So when I say two things to thing is quite somewhere here in the cloud. But things that's the deal. And that deal is what is men's by d release. So you need to start as quick as possible and you may want to release a little less fast 15 milliseconds. But you may be thinking war. This is very sharp. Like milliseconds. He has milliseconds that sound. What? We're starting very fast. What I recommend. Don't change the default in here. Okay, If there are there a certain level of milliseconds within which you can play on tweak without noticing the effect hugely, right, you want Met notice much. So this is why the defaults are not really bad makeup. What is makeup? Makeup is a simple way off for the compressor to tell your story. I apologize. Why is the compressor apologizing? Because in the process off bringing the highest down on the lows up it loses decibels. It reduces the overall value off the clip. It does your listen. You've asked me to do the compression. I have the compression. I have compressed it. But in the process of lost time, Debbie's sorry for that. Do you want to make up for the loss? And it's gentle enough to give you a way of doing it. Now it's a side effect. The side effect of compression is reducing the overall volume. Noise reduction has a side effect, but you don't have the choice to make up for anything because it's It's a bad side effect here. It's like the gentle side effect. It's just reduce in. Volume are It's okay. What can make up for the difference. And it gives you the option to make up for the difference. Combined all five of them. You can do your compression and no one notices the difference because you're back to your original level. Okay, We're just much better sound. Okay. Now that you know each one of them, now is the time for the truth. The time for the numbers. Where do I got this special from? I'm gonna answer you would. I'm gonna give you an answer you don't like, but I'll show you how to find it. You answer that you don't like, is it? Depends, I think. What do you mean? It depends. I thought. You gonna give me a number? It depends on your sound. Each one sound is different. Each clip is different. How do you find it? Why is this minus 20 db? It's a dubious way of saying you know what? You need to have a starting point somewhere. Why don't we have it minus 20 db? Because mostly, um, it is going to be dialogues minus 12. So unlimited, but B minus six. So let's put it minus 20. This is a random number. Don't Don't pay any attention to this. Though. We end up using minus 20 you will be surprised that you could be using it quite some time. Quite often. Let me get minus 20. Where do you get it from? Do you want to know where to get the number? Come here. Window updated statistics and you find it empty. Okay, fine. You just select the whole clip. Is the same one? Actually, Aunt Window amply to set of six. A new click on scan selection scan. Now, make sure you are working on only one clip, which is the case actually in here, because when you are in the way for me working on clip. But just make sure that you are doing it. Your selection there's not include more clips. So you come here and they've got the average are as amplitude. The purpose is not to explain to you all the statistics here is just which one you need to grab. You're gonna grab average RMS amplitude minus 37.79 Is this the number, I should put their No. So why are you giving me this number? Because this is the average R. M s amplitude to take into account, not to take their. So I know if I cover if I say let's say it's minus 37 179 Whatever minus book went, If I do this, you know what is going to happen. I am going to impact most off my sound because I am impacting the average and that's not what we want. The compression didn't come for here. The compression for for this the comm pressures is has been invited to tackle on Lee. The high parts, the loud parts. Sorry, the loud under no parts, but it it's it's, um, in terms of identification. Remember, the threshold is not about the low cards. The threshold only identifies the high ones. And when there are high ones, it starts working on both the high and the low. But identification is only for the high. So here, minus 37 you just want to compress your whole footage that you can't do that. You cannot do that. You need to compress only the upper part. So you need to identify the upper part. So let's look at this and say minus If you have minus 37 think OK, what what's the level here? It's not guessing. What is this? It goes up to minus 13 which is actually quite quite right. So I've just gotten this sound here, which is from the camera is further away from the from the action. But still, it's quite loud. Never used the camera sound. I'm just using these things because actually take demonstrate problems in the sound course . The only way I can do it is by bringing the most rubber sound there is, and the most rubbish sound there is is the camera one. So this is a camera one, and you would normally end up with something around minus three minus two. In this case, if you clear miss your sound Guy wasn't paying too. Wasn't paying attention to the, um, to the scene, but because initially, in the very first place you should in the rehearsal on blocking the scene and rehearsing it , the sound guy will have to adjust the level of the Volumen no water in the rehearsal take. He will know exactly What beak? Um, how loud the girl's voice is when she's crying. She's screaming, so you should not reach minus two minus three minus 10 If you reach zero. What the idea is that it should be somewhere around minus six ish minus for if minus seven ish. We're talking about the loud parts, but vocals ar minus 12. If it's the case, then you're going to sit here become years. Okay? I want everything between minus 15 termed zero to be impacted as off minus 15. So let the rest. OK, I want I only want to start compressing as off minus 15 because I don't want to impact minus 20 minus 18. The idea is keeping this in in mind that you are no taking the average. But the higher part and this is quite the minus 20 is quite generous, actually saying quite generous. But I would rather go for something like minus 15. Okay, now this is the number and you take it from average on Amazon attitude and it's going to change based on them on the clip. Now the ratio. What? Which one should you set? I will say that it would be too. It will before and it will be eight. So I have three ounces. But because we have agreed we're not going to use this compressor. I'm gonna give you the numbers for the other one for the multi band one. But just keep in mind there are situations where you do too situations we do for a situation when you do eight. Which situations? These are band frequencies, not even situations. So I You can You can stay between two and eight here. But just remember, you're hitting all the frequencies. If you If you want to use this one, you're gonna hit all the frequencies. If it's AIDS, you're hitting. What? The frequencies with eight. Even your core voice between 4000. You're hitting that one as well. And that's not a good idea. Okay, so this is why you need you need a multi band. Let's come to the attack. Don't touch it. Release. Don't touch it. Make up. How do I know? All right, let's have a look. I'm going to see here. Let's say I'm gonna set it. Um, one is 15. I'm gonna said this quite low, actually. Gonna sit on minus 22 for a simple reason that I want just to start with minus 21. Okay, that's good. Minus 21 minus 21. I'm just taking it. I'm just want I just want to make show you the work in the compressor working. I just do this and click on play. Now you're not hear the voice off. Switch off the off. Switched off the system sound. So you're not gonna hear the voice, but I All I needed to see is the working here. Sorry. I need to switch it off. Switch on a switch on the compressor. Of course. Right. Did you see this here? Moving now. What? This is telling you by how much is compressing great news. Okay. Is this in you? Is this useless? No. This is how much you're losing as well. So you could easily say Okay, um, actually, listen, about, um, four ish. So I want to make up for four, right? It's still make it still losing for but it's your making up before. This is why this is not really a great, um compressor. Because let me see the multi band one. And I think, yeah, output gain So if you if you do it here, you're gonna be able to see that to see the makeup being applied. So you see that you have gone back to your initial to your initial level. Now you can also look, don't here. Yeah, So there's no two ways you look here and you could look down here before compression. Looking over a level, uh, also compression. You look at the over 11. See, we've lost four. Exactly. For between minus 12 on one is 16. We've lost for this is the four. This is the four. So where do you get this number from? You just look here or here for the difference. But here is quickest, cause it's just it's therefore to to help you see how much you're losing. Cool. This is the compression as a concept, the latest compressor that you could use as a quick and dirty way. Teoh the whole clip. But my recommendation is the next one that we're going to address the multiple compressor 15. Multi-band compression: now the multi band compressor. Your compressor. Okay, so you come here to the effects and extract, and then we get our multi band compressor. This is the one to go with. Why? For a simple reason you have This is a compressor. This is a compressor. This is a compressor. This compressor. We've got four compressors. Why? Because each one of them is targeting one band. This one blue is for 0 to 100. What did we say? 100 is what By default is one and in 20 whatever it's like that will be trying to make male plus female divided by two. Well, it's kind of close this one out, but this part is what? Mumbling, rumbling noise stuff you don't want. Okay, this needs to be dealt with separately. You cannot compress this. The way you're gonna compress there's between 102,000 is the core off your voice. It needs to be compressed. Very gentle. E. When we moved to the height, um, high frequencies 2000 to 10,000. They need to be compressed a little bit more, but not as gently as the core voice, but also not as bad as you would deal with noise. They're very high frequencies. Which are these higher than 10,000 or what? Have you consent this for yourself? Consist. Said say okay, I'm gonna do upbeat if depends on the voice. Right. So you just myself depends on the on the vocals on the sound that you happened there on the person on the actor. Um, so for compressors, that's what you need, at least. Okay. I think it should be okay for is okay for his, but Okay, De, dealing with these ones is completely different. So now that we know the concept, I'm gonna explain them again. But I'm gonna tell you what members you should have. And now the numbers are going to win to make much better sense. Have you noticed that the attack and release time are different? We used to have in the simple one brink in the simply one again. Simple one. We used to have one millisecond 50 minutes seconds. And here it's 10 milliseconds and 100 seconds. The defaults are different. Does it matter hugely? No. You could go. You could keep them as is. You could You could keep these ones as is. And the other ones, as is you could change them to see to fit your artistic choice. But these are minus minor tweaks. The most important part is the threshold on the ratio. Okay, for this party now, we're going to deal with the noise this one needs to be, Um it hits really hard. So we're going to go with eight or more. You go with eight or more. Okay. This is for by how much I go going to compress. And then the next one, which is I'm gonna talk about By how much? First for all of them. For the mid frequencies, mid range frequencies, the core of your vocal. You want to be very gentle if you do one. You actually doing absolutely nothing. But if you do too, you are compressing. But you are being very gentle with your voice. Because for everyone disip for every two decibels, you definitely let one go. So you are disputing 50%. You are okay with this. The next one is the high frequencies. And we've listened to this one. If you go back to where I've explained the frequencies using the multiple compressor I made you Listen the 78% That is very, very high. That's something you may want to address with four. Or depending on the voice with six. Okay, but I would say four is not bad for a simple reason that you want to retain clarity. If you're gonna hit this hard, you're paying from your clarity. Yes, you are making the audience experience more pleasant and it makes more sense. It is better to listen to. But you don't want to lose the clarity off the voice because this is clarity on this is presence and this is rubbish. And this is a little bit of clarity, but it could be dangerous. This is why we take it away as well. You kill this guy, kill this. You hit this hard, you hit this hard. You're very gentle with this one. You kind off compressing somewhat in here. But don't go off board. So four or you. If you really insist, you can go to six Powder Command to be on the safe side for meaning for every decibels For every four decibels, one will go on, three will be removed. And in here you can go with eight as Well, so this is your magic formula. In case you don't know, this is something you could apply. I didn't want to say you don't know what you're doing, but in case you don't want to waste your time with too many clips, you could always go with this. Say, this is my This is your approach in life for sound compression. You could go with this because for bands, they're always the same. It's a definition talking vocals. Here. We're talking about vehicles because most of this is about documentaries. Films. If you talk about explosion or bullets, it's a different story. Altogether we go. Then we're gonna treat that separately as in minus. You've got you go to 17 you go to 15. It's a different story for vocals. You want to go gentle with them? 8248 Right. This formula we always work. Okay, this is your safety net. You can tweak to your liking. You can go to 10 here if you've got rubbish sound. But by the time you reach compression, honestly, you should have the noise. That because we're talking about 0 to 100. If you feel the need to go Teoh 12. Ha. Honestly, you haven't done proper work doing, do you know, is in and you have not proper work during filming. And he didn't choose the right location in the first place. So it goes back to the beginning. So choosing the right location, make sure that you can stop here at eight. Uh, right. Okay, let's move to this one is just a gentle. This is just for the high frequencies to make sure that you retain your clarity. And this is something you can simply compress up to. Eight. Okay, good. Now about the threshold. By how much? No, this is all gonna depend on on what it's going to depend, uh, on your levels. Okay. You look at the level here. This gives you the level off the the leveled off, the amplitude, the volume off the frequency. Only the frequency. Now, if I play this, let me just play this whole thing. Just select this, make a look. If I play, it's then what I'm going to get Is that this Okay, explain it. Abouts. Okay. So I don't mind. Go into minus 48. You see? Here it goes in here. So I think I don't mind going down to minus four to minus 48 or minus 50 on this one. So I'm gonna go to Threshold is say this is minus 48. Good. See what happened? It started working because I've defined Threshold zero means there's nothing working you could go to minus 50 and it gets and it goes even deeper. Now I really don't mind because I really wanted to be compressed, but break close Attention, please. To the definition of compression in this band, the band between zero and 100. We need to remember what the compression definition is. What was it? You reduce the Hizbut, you increase the lows. If you've got rubbish in there is gonna be increased. That's why noise reduction needs to be done properly. So in here. Yes, I'm reducing the highs, but I'm bringing in the low knows that you couldn't here in the first place. We've been brought up. This is why you need to pay close attention to noise reduction. Right? So this is working now. Fine. Let's move to a done next one before moving game makeup which is make up, make up for the loss. Do I want to make up for the loss. I'm trying to kill this band and you asking me to even increase it? No way. No. So I'm not sorry for that. I'm not apologizing for hitting it hard. We're gonna keep it. Zero No makeup. You move to the vocal on anything. This is a really big one. Let's look at this. It is playing. This is bad, by the way. It should be minus 12. It should be up minus 12. So what I'll do is I'll just target minus 48. Sorry. My apologies. Minus 24 minus 24. Okay, so you just don't get the highest part. The highest part is minus 24. And then I am going to stow. My apologies. Doesn't. Yeah, that's the threshold. Someone is 24 on the ratio is too. You see, it is working, but only when it gets really bad. And it's less than here. So for every decibel, the old minus 24 let only want this simple girl. Okay, this is a volume thing. This is the lowest you can. I think you just set it for you for this range. Just make sure you always into. Let's move to the next one. All that a moment. We can't move that fast. Why? Because this is my vocal and my vocal. The core of the vocal. A need to make up for the loss. How much of my losing Every loss Here. You make up for it, period. There's no discussion for a simple reason. This is the This is the reason the oldest is sitting there to listen to them. This is the core of your message, not message. This is your main plate in the sound is the vocal. So how much my losing? I'm losing a bounce too, I think. Two. Okay, I don't mind making too. In this case, be creative. Please. You could even boost it Mawr. So I could say, Well, the moments I know I'm losing two, but guess what? I'm gonna go with three because I want that man to be a little bit louder than the rest. Fine. It's a choice. But you don't make it less than two less than what you are losing here. Okay, let's move to the next one. This is lovely for presence, but you need to be careful because some know you've listened to The frequency is explained by the Each year you listen to that noise that's really bad, what they live in here, the bad guys, the bad frequencies actually don't know because the battery Quincy's between 2000 and 10,000. They live in here. They also live in both 10,000. But they live in this place. If you are going to boost it, then you are boosting the bad frequencies as well. So this justifies a little bit more drastic approach. Either for or six. Not really drastic, but it's kind of average for then I'm looking at this and I say, I'm going deep on this one. I'm going deep going to minus 36. We got money, study six in order to before and you see how much we are losing off this? We're losing about minus 60 B. Now do you want to regain that? I can do that. I can make up for six. But you know what? I'm trying to do it to be created. I'm just gonna give it full back. I'm giving you four back because it's a girl. By default, a girl's voice has got more clarity than presence. Boy's voice has got more presence than clarity. So I don't think she needs more presence, more clarity. So it's OK, but I've given her a bit more presence here. See, you lost to what I said. You know what? Let's give her more presence Three on in here. Unless you say okay. I want shouting and crying to be sharp, but it's going to be hurting people. Is, um in this case, I'll just say Okay, fine. I'm I'm losing six, but I'm just giving it back for Flynn. You see, you don't necessarily copy Paste the numbers. You just go about it. How you want to are. We don't hear. Yes, we're done here. Then we come to our last one, which is dem K on above, or whatever number you set. Nine K 12 k 8 k. Because s is that a around eight game most of the time. Well, let's leave it a 10-K here, and we come and say, What's the threshold it is playing here? So I'm gonna go something like minus, um, minus 55 ish. Yeah. So I'm targeting the took part minus 55 reduce it by eight. Okay, 16. The magic of EQ: Now we move to your favorite some tool the Parametric Equaliser The ET where do we find that we come into the FX track on we go to Filter and e Cube And there it is Parametric Equaliser! Click on that and we get this beautiful data box with 12345 bands plus some more on the right on the left! Okay, What do we do with the parametric equaliser? We can do plenty of things, but the more artistic explanation of it is that you are going to take full control off the vocals. So much control. But you can bring up any frequency on reduced any frequency, just like you wanted to be. The question is, what do you really wants to have? And then it may be thinking I actually don't want I don't know what I want. Sorry. I don't know what I want. I want the sound to sound great, That's all. Okay. Sound to sounds great. That sounds like a good plan. How do we go about that now to show you the greatness off this lovely tool? Let's start first by the left part here. What do we have? We have a high bus. Let me just switch off everything. Okay? We have year in the X axis, the hurts What? We have the dp's. So we have from 0 to 100 hertz. You can clearly see that somehow there's a thickening line here. Or at least a more obvious line here. Which seems to be suggesting that we need to look at this as a separate Bound is the 1000 here, which suggests that probably between 101,000 is another band between 1000 and 10,000. Suggest is another band on there's above, but they're not really creating bands is such they are giving us their saints, because here we have other numbers. Okay, Now what is this? HB Hitch B and L b high pass and low bus. What did we say? Let's go back way to the beginning. We said that very first. Think you do is to make sure that your sound has no noise. Okay? No, I'm not going to repeat it again. But you know about that, making sure the large location filming is done properly. Sound noises being handed properly during filming, and you've done your noise reduction in Adobe Audition with either, um, inconsistent noise with the healing brush and the consistent noise with adaptive, Preferably could do it manual, but also deductive. We've already done that. Guess what? You have compressed the footage after doing the noise reduction. Right? We've done that. Okay. When you compress the footage, you have compressed the lower band Lower bodies between 0 100 right? Okay. What is compression? It brings down the house, but it does. What else? It increases the loves. So even know is that could not be heard before is now a bit louder. You may be thinking it might done doing might then doing the right order of things. Yes, it's the right older things, but you get the chance to correct it. Here you get the chance to remove everything between zero and 100. What we've done in the noise reduction is Well, we've asked the software to do something for us. We didn't know exactly what the internal workings were were. What's the formula that was running behind? But we had the result that we thought Well, that sounds great. That that's cool. Let's move on. No, you are going to define what happens in the background. You are working directly in the background. What is this background noise? Mostly Is reaping zero on 100? I know when this lady is going to start talking, I am not going to hear her voice. And it is going to start at 150 right? Everything below 150 as we have demonstrated, is just mumbling. Robin and Robin Wright. It's stuff you don't want to hear. We don't wanna hear that. Okay, cool. So she's a lady? Yes, she is. A ladies is gonna come with frequency. The voice starts out 1 51 50 yards. That's how you do it. You do what? That's how you remove the sound. The no is. That is before the base starting point. So now you have taken care off anything. Any side effects of the compression? Okay. You also have initially in the first place we have made sure. Remember when we talked about the compression off the lower band that we made sure we did not make up for the loss off the DBS, which is a good plan. We lost the base, which it means that that noise is even quite are they? Making sure you make your You do. The drop brought to the compression is how you make sure that the noise doesn't even show up at your level. But you need to remove 0 to 100. Let's say you always do that. Okay. The hype, the low pass. Sorry. Then you have Let me explain what the high passes is. You let the higher frequencies bus on you, block the lower frequencies, which is, um, yeah, let's just say that you're going to remove the lower frequencies and you let the higher one's pass here. You've got the lower pass, the low pass, which basically means lower than this level. Let them pass the higher one. Stop them. Okay, you click on L B. And then you see 20,000 psycho. That's very, very high. It's your choice. That depends on the voice. We've got a lady here with not really a very sharp voice ball. Say enough. Clear. It's very clear voice. So does she need? Does she need that? We boost her, uh, very, very high frequencies? I don't think so. You don't think I don't think we need to do it for females you can go for that. Okay, If a few has got a very strong, deep boys, you can do it. But most likely we are going to Rohloff up tails it is say too well. 1000. Something like that to make sure that she has got plenty of clarity. So I don't need She needs more than 12,000. So you could go. You could go higher. 14,000. Whatever. Let's do 14,004 change. Okay, so I've removed the lower frequencies. I've also reduced the opera. Quit frequencies. What am I doing? I'm gonna start sculpt in my vocal, and I think What? Yes, It's just like your sculpted. That's exactly we're gonna do like you remove the bad parts. That's how you start. You remove the bad bats first. Dan, you embellished a voice. How many equalizes are we going to need? We have How many bands? 12345 Now, this lovely. Think I find it truly wonderful. You know what this is? Let me just activate this. This one is, um if you're going to increase this, what is going to do if you you have the possibility to raise, So if you want to give the Lady Mawr presence I can come here to. And I know that somewhere between 105 104 100 is really the base off the voice. Like the strength of the voice you could if she's a bossy lady. And in this case, she is this this inches in the whole film? Actually, you can bring Oh, say about 200 ish 152 hundreds, one of 75 ish, and I want to move it just a tiny be to give her a bit more presence. Okay, Now this we're going to do later because we have agreed. First we clean the mess. What, miss? No, I've showed you when we have demonstrated. Wouldn't have demonstrated the A Q. The frequencies with the EQ. You like the lecture that say's understanding frequencies using the equalizer. Okay, that one. I've demonstrated the freak that there are bad frequencies. That's your starting point. So I'm gonna switch this one off for now. I just look for the troublemakers on We said it is just about American shore. Your DB here is set up 20 ugly stuff. You've got here 20 as well and you move this writing? Okay. You could go a bit high, actually. Yeah, I think he used to be 20 but I don't mind. I'm 35 Something The game? Yeah. The game could be higher. And this one is even. Yeah, let's go. 2025. 30 ish. It's much better like this, much better looking. But when you move it, you move it. You're gonna drag from here again. As I said when I talked about Equaliser But before Don't move from this from the start because you risked him to just move it like this. You can do it, but it's like it's much practical to do it like you want to stick to one level off this civil that it's gonna be very loud, but it is going to involve a looking for your like a hunter. Your hand in four bad frequencies. Let's listen to this. It's a very short, very short party. Just select response. Well, this is all sizzle. Select this and listen to this, Actually. Without anything? Yes, a long term investment. Sorry I said we don't turn it. Then I forgot to switch off this stuff. Let's go back. Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes. Okay, Now I'm going to remove the rubbish found. No, what I'm saying Rubbish. It's in the recording. It's not in the lady's voice in the recording, and we're dealing with any inconsistent tonality in her voice. Right? Uh, okay. Consistent. Reality is something we deal with in compression, but has an impact on the SS, for example, or its impact on the highs and the lows. Inconsistent tonality you do with compression. Okay, let's move. Here are not this one, Okay? When we start our search or hunting, that's Hunt. Switch it home. A long term investment. I'm not the sort of person to be distracted by little gains. In short, this is our first target. We've found it. Cool. So this frequency here is really bad. What do we do about him? We bring it down minus 10 probably minus 15. This one is really bad out safe with minus 15. Now, you need to pay close attention to the fact that you are really going with narrow deep. It needs to be really narrow it to keep it wide. You're gonna impact mawr frequencies. Then you want You don't want to do that. So keep it sharp. The higher on again. Don't pay attention to Q slash weight stuff blah, blah. This is These are technical terms that in pure English just say, Do you want it louder? I'm sorry. Do you want it wider or network? That's all. All right. Um, that's Mr the next one. Shall we? On the same story here. We're gonna go with that. See? Sorry. No problem, Models. I'm 30 on remove its when we stop playing. Some speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term. Speculate you can hear it. That's killed this one as well. Minus 15. We are reducing that frequency by minus 15. Okay. Same story here, and it becomes a mechanical exercise. And then you think, Why is it that my favorite tool if it's a mechanical, because the beauty that it gives you no other to give you relations? Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Absolutely. You're going to notice that one of the defaults of Adobe is around 800 most likely every time. Frequency around 800 is really bad. Okay, so this is one of the spot on the defaults in the barometer's Bring it down. Keep it. In this case because 800 was really bad. I'm gonna go with something like 15 by doing 15. It wasn't just 800 if you notice it was even higher than 800. So I'm making it a little wider to cover all of this spot. You could go with something like 70 nations, something just not taking just 816 but some of them around it. Right next. One 30 30. Let me play. It's a long term investment. I'm sorry for that. It was a bit hearty, was bit loud, but this is the point as well. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investment. I'm not the sort of very, very, very bad frequency. Very bad frequency minus 15. Let's go to the next one. 30. That's how you do it. Person to be distracted by little gains in short term speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investor. Well, this is one of our favorite frequencies. Do you know what we have found now that the most wanted frequency it is the s frequency like that were going to remember this? What? 7259 Okay, it's a little bit too early for that, but not really too early. But I'm giving you a choice. The next part is gonna be the DS, sir, Right after finishing Parametric Equaliser is gonna be a de Esser. What I'm gonna do now is just consider this one as a bad frequency. Remove it. But I know that this is the s all right. You know what I'm doing now? I'm actually already ds in. This is the beauty of the Parametric. Equaliser it! It removes noise with the high pass. It removes the high frequencies with the with the low pass it removes the S. It does the work of the noise reduction. It does The work of the DSS does the work of lot of people in the south and in the sound purse production suite of tools. It's is your is the richest tool. So I'm going to talk about the next you know, the DSR in the next spot. But this this is this is really nice to remember this. 1725 mile. I'm gonna keep it and treat it as a normal frequency like a normal bad form. But this is the most wanted one, and we remove it. We reduce it, Boy. What? We keep the shop. Yes, Yes. Needs to be really sharp. We can't keep it Got wide. Oh, what? I have just five. OK, but maybe I have more dough. I have more What? I don't know. How do I know you need to check? So this is why sometimes five is not enough. And I would say Ok, thank you. I'm gonna close this, leave its own close it and bring another one because I can So is my to hear about a minute equaliser on we start from scratch again. Keep this one off because we do this work on it once, and we all go in to switch off everything, do the same work again. It's like we are now continuing. It's like working on the same one, but we run out off points. Osment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investor video about So that's gonna be minus 15. Same story here, 30. Now, the question as I'm doing this, we need to talk about how often you're gonna do this. If you are thinking, you gonna need no, don't Don't think, Don't think you're gonna need to do it for every grip. This stuff needs to be done for every person. One. Thank you, one person. So this lady's voice we're not sculpting her voice asked to it. It has to do with her voice. So it's not about it's not about the clip. It's about the person. Once you have that, you can save the preset. Okay, you could come here and say save settings as preset. No, I've got a few of these. So conceived Part one and part two. Name of the character in the film on dialysis. Safe in the name of the cartoon in the film and then part one for the physical eyes. And part two for the 2nd 1 is going to apply part one. Part two and part three in sequence. Okay, um, that's for the person. And then you move to the next person. You've got 15 actors, then you've got 15 ik cool eyes are exercises to do exactly this. Do you want your sound to be great? Literally. Stand out from the crab, be fantastic, removed all the rubbish frequencies, Have a great presence, great clarity of the voices and play with the presence as the role moves from bossy to lower and play with the clarity for deeper voices. You want to have more control? Is the equalizer Okay, So it's not late again spent. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little. We got plenty of these. So you're going to notice that we do know we cannot stop. We could not use only one equalizer. We need to have quite a few goals and short term speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term. Very bad one. Got to get the point. Right. So this exercise, we need to be able to show you a trick to make you feel the difference. Actually, between to make you hear the difference between before and after I need to do it isn't just won't want that sort of person to be distracted by little gains in short term speculations . Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little gains into short term speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investment. You've noticed I'm ADM Anistan instead of minus 15 is just a matter off. How bad is it? How bad is the frequency? I'm putting minus 10. Because later on, you know what you could go with more. But later on, I'm going to boost this area. So I'm gonna add some more DVDs. When I could do is in this case because I know I'm gonna add some deep is gonna put it minus five. Because when I'm gonna add five, I'm gonna go back to minus 10. Okay? Now, this is, I think, kind off enough. You get the point? Uh, the idea was not only to make it clear what I'm doing. The idea is to finish the work for this ladies that I could make you hear the difference. Let's move to another one. Why would I do that? These two are for cleaning the mess. Generally, you tend to need 10. So this is five, and this is five. So this one you start with clear this one. Clear that one on. Remove five frequencies. The next one. Israel's on additional five frequencies, hopefully off the bench frequencies. Your sound is much better. But now we move to the next phase off the equalizer, which is embellish. Now you are deciding what to bring forward What to what? To of what to do with your voice. Good. Switch off everything as usual. Keep one all rights. No, Sorry. I said before that I should remember to come back to this lovely one over there because it's a female and I want to give her more presence. And Strong is got her role is bossy. I'm gonna increase this spots there by that is too much, actually. Yeah, it's going eight eight and the move it a little like So what I'm doing isn't this air between 100 and 50 and 304 100 just increase in its overall? What's weird About eight. DBS just got balls. So her voice is going to sound heavier and stronger. All right, This part we already have known it's come here. And, um, she could do It's still there. Just come bucket. I may, even if I have rolled off this one I missed, He'll give her a bit more presence when presidents Something you're gonna find as of 6000. If so, switch on this one increases a bit. I don't increase too much, but give something like four ish because it's a lady and generally timeto want to give more presence for deep voices. But this one is fine. It's like you've given Mawr and then you're going down. So this is our I think it's fine. I don't need another one unless you say, Well, when ended is and say I want to have But in this case, it's wider going to have close on overall on overall last four db for the for the area between one from 3000 something like this just to increase, said four TV. Yeah, just to increase to make sure I'm somewhere in the middle. 1500 is kind of the average ish, but it's a female, so I'm gonna move to 1.75 ish. Something about just boost the overall core off the sound, right? That's it. No. Shall we listen to it before and after before is gonna be this I'm clicking on this side is excavate everything. And then after yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, right now. After, yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculation. This is an artist. Six choice. I've given her mawr. Dig deeper voice. Now, if I want what I can do, it's going back here. Found Make this one Ah, higher than this. So what I can do is remove this one, right? So, in effect, you move the one where I have boosted between 4000. Come here. So now I'm taking it, too, in a different artistic direction. I'm going to come here and reduce this a little bit to four. So make this four and make this 18 Okay, You notice a difference. Now let's play this. Yes, A long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Completely different the day. I mean, it's the same line, of course, off dialogue, but it's completely different. Taking it differently if you want a deeper to when a clearer do did you have more presence ? It's a choice, and it's all about playing with this part this part on this part overall. Okay, now, this is a creative tool like you. Of course. After cleaning, cleaning Is these this These deep? Here they've got 12345 Plus this part, the second part is the creative part where you're going to decide which part you want to boost. Okay, this is the beauty off the equalizer. We are going to come back to the equalizer for something else. 17. DeEsser: now that the Aesir Why do you need a DSR for a simple reason that you've got the letter s in the alphabet. Okay, so it's not just s is actually all those. The letters are sharp. Okay? After s These SS could be quite annoying for the ear. If you're listening and it's loud, it can be quite annoying. I would like to tell you that the SS depend on the person. It's not just a microphone. Yes. Look how close the microphone is that also the SS depend on the person. So some people for something you're gonna need to go more drastic than with others. But the S needs to be reduced and soft, and it needs to It needs to sound like way softer. Let's go back here. And she say's Yes. So the first thing she starts what is? Yes, I'm going to deactivate the Parametric equaliser the work that we've done and we just listen to it as if we haven't done a promising equalizer. Okay? And then we switch them on again. Let's get the DSL where we get it. We go here and we find that the aptitude un compression and you find Di essere. Don't use the defaults, please. The defaults are the best guess of Adobe. Adobe is a company. It's not your sound First production guy, right? Uh, they do sometimes guess it right. And sometimes they get it kind off. Yeah, whatever. Give them something to start with. And in this case, it's just, like give them something to start with. The default is is something you don't work with. Something you want to work with, The precise GPS location of the S. So my role, if you want to remove something, I'm asking you to remove s. And the first question is, where is it first in terms of frequency? GPS location. Where is it? How can you find it? You can just some okay. Fined 3000 to 5000. Generally, it's about 8000. Okay, The generally the S is about 8004. Most female voices on whatever can be at 6000. You can find it at 10,000. Sometimes at 9.5. It all depends. And I'm not saying OK, but give me the number. And I'm not gonna be the number I'm gonna give. You have to find it. It's close a DSL for now, I would even do something more drastic. Remove it. I'm going to bring his cousin the CQ, right? And I'm gonna find s first with the each year on once I find it, then I go back to hit it with a de Esser. This is the recommended approach. I'm going to switch off everything again on just keep one of them because I'm lazy. I'm going to switch off this one because I says are around here. So I'm gonna switch off everything and keep five because five is closer. Right? So let's play this and look for the S. But as usual, you put in 30 here on 30 dependent version. It could have certain older version that just stops the 20 or something. Whatever. What? Just increased them and make sure it is very sharp. Let's play this. Yes. Say the s is quite clear. Now it's I don't want it to be to clear, more clear than the rest of the dialogue, but it's not in 12 800. Let's let's look for it a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, a long term investment. I'm not the sort of person to be. It's about here. Okay, Now, do you need to find the exact GPS location for bombarding us? No. You need to find the location where you think? Yeah, it is in that village. It's somewhere around 7.4. Okay, what have we done? We've identified the GPS location off the S. It is not between 3000. Let's look at that. I look at that dear 34 stuff. Now it's a you know, it's between $3000. So you're missing the point completely with the default Absolutely wrong. The central frequencies. 5000. So they they go further away from the 3000 and the make it 3000 hers white. The problem is, when you make it 3000 wide, you get very close to the core voice. Core voice is about 1000 3000. But when you do that, you are hitting 3500 up till 312,500. So this is They are targeting it as 5000 and they want to spread the whole thing by 3000. But if you're gonna hit my 3500 that is not your s s a 7.4 for this. For this clip For this lady, he's got another person you just need to look for. And it could end up being 9.2. This is why need to come here on your right. 7408 This is the center location where we have found s now. It doesn't mean it only is there. It spreads? Yes, is not just in one place. So I think it would be fine if I cover it with to see if I can cover it with Can I cover it with less than 5000? I could cover the 5000 but it's too sharp. So I don't mind having 1000 which basically means it starts. Uh, um, 6900. And it stops at seven 1009 100 if let's listen to that. So what I'm gonna do is he's activates the paramedic localizer on, keep the VSO activated, distracted by little gains in short, term speculations. Yes. Along. See a much friendlier friendlier s. Now, if I go back to the initial one, which is 5000 and 3000 what do we get? Term investment. I'm not the sort of person to be distracted by little gains in short term speculations. Yes, along it gives you the impression it has done something. Yes, it has killed some. Smaller s is itself some smaller frequencies of the S. But it didn't handle the big frequency of this. All right, so this is really the difference between good and great. Now this has given you, like just something. One of the 740 a. That's your number. And then you go with based on how you have you've been looking around here, what do you get this number from? I know where this number from this comes from here. But where do I get this number from? It saves 3000. Shall I go with that? How do I know that? Because when you weren't looking for it, you have been moving a bit in arranging thing here. This is about between Yes, about 901,000. You find it in that range That's the Ranger out in here. It's about 1000 hertz minus minus, plus 500 minus 500 plus $5. Okay, so this is how you find it. What do you do? Do you keep this one? No, I just invited the years or two. Identify the GPS location. I'm gonna have to remove it. Say thank you. Remove now. Could you have done the DSR with the equaliser? Absolutely. Perfectly correct. Yes. Do you need a DSR at all for this exercise? So do you think the equalizer is very well placed for this kind of exercise? Let's come to here, Equalizer. You could have done it yourself. Could come here. Are deactivated everything. When you found it. You just have decided to go somewhere else and do it. 7408 on You could say reduced despite on it's the same thing, Scott to ST barometers. It said it reduced by how much? By minus 13. OK, minus 30. Minus 30. Good on, da. How How much? Okay, just how much the bandwidth that the banquets like, how wide is exactly this? So I'm going to cover between here and here, so it needs to be narrow, but just covering this too lines here. So I need to do it like this. Something like that. This way. I make sure that I remove this, Okay, But I agree. Uh, this is much better in terms off a cop. It's not like, deep like this. This is discovers the whole range. This really takes care of the whole range. In this case, I would recommend identify it with the Parametric equaliser and hit it with a de Esser. OK, Two different tools. 18. To Normalise or not to normalise: to normalize or not to normalize normalization. What is that and when do you need it? I hope you will never need it for a simple reason. That normalization is the one that has two meanings in terms off. It's the last thing he want to do. It has the meaning off. It's the last thing you want to do in terms off. You shouldn't need to do it. If you do the proper job in terms of sound recording, you will not need to normalize. I'm talking about films radio as a different story for radio. You normalize for films you should not need to normalize on the second meaning is, if you happen to need to normalize, then it has to be the very last step. After all the tools and bells and whistles and all the embellishment and everything with you, then you can normalize at the very end. Okay, so what is normalization? It is a technical world to say we are going to increase the overall volume off amplitude volume off the whole clip or whatever it is, will apply in the normalization to, but everything right with increasing everything by how much so does it not lacks sound a bit familiar when I say we're increasing the volumes like, Well, hold on a moment. There's something else for that. I could increase that with the amplitude If I come here to this clip over and I go to our Sorry, I just created a key frame by mistake. Should be double clicking like this if I come here to the way form I have this db was like , Why should I even bother with normalization or whatever That thing you call normalization if I have here the possibility, Just click on plus whatever. How much do I need? I need six more or J k through six more and then that's it. Or you can even come here and go to amplitude amplify, click on amplify and add whatever you want. Normalisation works a little bit differently, right? Yes. The overall the result is going to be t to increase the overall volume. But it doesn't. It does it based on, um a destination, right? It's not from a starting point. Amplifying is from a starting point. So you you add zero to what? To your starting point to everything without regard to anything whatsoever. You're adding without knowing. Actually what you were You go in or with normalization. It's a different story. Um, let's come here. Let me go back to the multi track to show you that you can actually no find normalization in the multi track session. It's great to be able to work with normal eyes, you need to be at the way form level here. Now, this is probably one of the ways off Adobe knowing that normalization is one of the rare things that happened because you just do it for the instances where you have made a mistake on then. Here is where I opened the big bracket about normalization that it actually is your way off saying sorry I messed up. If you normalize its your apology normal. Normalizing is an apology for messing up the recording during the filming. What kind of mistake is that? The mystic off recording a level that is too low. So we have a dialogue here on um I have taken this scene right. I've taken this scene where I have let me get closer. Okay. What do I have? I have here a sea where have a dialogue between a woman on the trial. Of course, For this kind off recording, what do we have? Let me just get closer to the scene I have here. So the woman this is a shoulder on. We've got the kid here. Now there are three microphones. I'm trying now to recreate the error. Right. We've got three microphones in this shot. Three microphones in the room, Paul, which has brilliant sound the lovelier off the child, which is much louder than the boom, for a simple reason that it's much closer to the to the source of the voice, but not just louder. There's a there's a distance difference between, uh, the lovelier on the boom to the source. Right? But this is not our point. There is another lovelier that is with the woman. Right. So we've got three microphones. If you happen to make a mistake in the recorder off, not paying attention to the levels and you just say Okay, fine. Whatever. You move from one scene to another scene without changing the levels based on the voice off the person, you may end up with a level that is too low. Okay, that's when you need to normalize. Well, what do you need to do during film in To make sure that you don't mess up what you need to do every time and I'm talking here What your sound guy sound recordist needs to do every time is every beginning. Office scene. Okay, off the take off a scene, every scene is different. Dependent, of course, on, um if he's going to look at the script, I mean, you've got professional sound recordist. They're gonna look at the script, gonna ask for the script, show me the script they normally microfilms they're gonna need. They know how long a certain dramatic mood is there. If most of the discussion is very is quite is, quite then he's going to need to do this work that I'm gonna describe only ones for the whole scene For several scenes, I think it could even be for the whole morning is going to be just once or for the whole day, just once, because he knows that Well, all of this is just actually part of one big dramatic thing that it's all about the same levels. I don't need to do the work twice, but he knows about this. What does he need to do at the very beginning before starting the recording? Okay, everybody has got his own homework to do. The cover a man, the GOP, the director the scripts provides everybody's got his own works on the sound recordist needs to bake to pay attention to the levels before we start recording. So we he goes to every one off the actors and asks him to speak. It could be 12345 whatever it could be just talking about what he has had in breakfast, preferably after having a little social chat. A little short, one off a few seconds. You just ask. I like to set the levels. So could you please say the line that you have? Because it could be that he's talking gently to you. But the line that he has with the other person is a but more aggressive and is gonna be more, more. It's gonna be louder. So just delivered the line and it is the number one, so he's going to set his levels. So this is before even even doing the rehearsal take because I do. Every house will take right, and I do record the rehearsal take because it happened once that we that's another bracket happens. One of the best take that we ever had in A for a particular scene was the rehearsal one, and he was never recorded. Its performance changes every time. So I record releases as well. It doesn't mean they're going anywhere. It just means that is there for safety. But it's also an opportunity for your sound guy to best a gain during the rehearsal took this the levels. This is what your sound guys doing now. If we are going to get the levels right, I shouldn't be even talking about normalization now. And that's great because you've done great work during the recording. You have the right level. What's the right level? Minus 12? That is a simple one. Just you. As long as you make sure that your voice is about minus 12 you're good to go. We're talking about both, especially we talk if we're talking okay for the level is it's quite that easy. It's simple, right? If one everyone's gotta love. Larry just said the lovelier at minus 12 for that guy, minus one for the lady, and we're good to go. But for the bull bull, it is different because you've got just one boom ball most of the time. Okay, that boom full. You're gonna point to the kid when the kid is stalking you. Gonna pointed, lady, when the ladies talking. So you, Every time there's a movement, there's a change in Yeah, the levels manually. The sound recordist is going to change the level. Okay, that's the kid. That's the lady. That's the kid. That's the latest. If you mess up with this, you end up with lower volumes in one of them. So you need to come back and apologize in Adobe audition by normalizing. Normalizing is raising the level off the overall clipped and I saved saying applies in for a simple reason that professional level we don't normalize. Know what? Okay. It's a dark, different schools of thought, but most amended. The most famous school of thoughts to say is that we don't normalize simple. You normalize because you've messed up. That's what we explains. Like, why do you feel the need to normalize? Because he recorded it wrong? Okay, right. Don't record it wrong. That's how you make sure you get the right level. If for some reason you ended up with something that is too low, then we need to normalize now for this purpose. How do I show you the normalization If we've recorded it, right? I thought to demonstrate that I have ever I have an idea. This is why I talked about the love leaders. Let's go now to, um just open days on. Zoom on this. We have all three microphones. You can see them, right? Okay. These are our three microphones. This one microphone, another microphone, another microphone. And actually, without even listening to these, you will be able. I think yourself you'll be able to tell which one is the boom pole. Which, which one is the level of the of the of the child? Because the child is speaking out and which one is the lovelier off the year of the lady? So which one is the? Which one is which always you're gonna have. This is the boom pole. This is the lovelier. Why the level years set. Once you've got one sound guy, you can tell that from from the lovelier tends to be more often than not louder than the bump because the sound guy, when the take is going on, when? When it's recording, he is being closed addition to the boom pole, not to the level air. So he sets it right at minus 12 and it stays like that. It tends to be louder. This is the lovelier after, boy, this is the broom. Pull on. This is what the kid is talking. So we only hear very little. So it must be lovelier of the lady. Good. To demonstrate the error, I'm gonna have to pick the wrong microphone. So let's double click on this one, and we come here. And as I said, you don't find the normalization in the multi track. You find it in the effects menu, not in the FX track effects menu. When way form selected, it's coming. Effects on, um, amplitude and compression would come to normalize. So this is very, very, very long. That's a seat. This is really low because this is the lovelier of the ladies too far from the from the kid . But here we have. How much is this? Is minus 18 ish, But it's okay. I can check that country about it's abouts. Yeah, minus 19. If someone is 19 now, issue on your record minus 19. You don't pay attention to record Afghanistan. 19. That is really bad. But have to solve that problem. You are going to come here and come to effects. Amplitude on normalizing. Going to have a what? And dialogue box. Something extremely important. Please. Have you noticed what happened in the background? Uh, Adobe Audition knows that I'm going to normalize. So what? It does it select the whole clip? You see, the whole clip is now selected as white. Well, this makes perfect sense. I want to normalize the whole clip. We've messed up for that scene. I know. Toe went to normalize for the whole clip. Hold on a moment. There are some things we need to remember for how normalization work. And there is a big mistake we could make. But let's now explain how normalization work so that we understand the mistake. Normalising is about destination. Okay, I'm really sorry because I already have my levels here. I should have. Should have. I think you should have something like they fold by the four. This when you open it for the first time. You gonna find something like this, I guess. Yeah, something just to normalize 100 then the percentage, Um, I don't know why they start with the radio default. The radio assists for radio, like 1%. This is in 98.5. You can brew this with the percentage for radio. If you're gonna do it for film, you're gonna move to debate. You have a better idea of what you're doing because you're gonna target a certain level. It's dialogue. What is dialogue minus 12 period. That's it. Makes your life much easier. It's around minus 12. If you are normalising minus 12 it basically means it depends if they're shouting. And you know that the rest off the dialogue is less than the shouting. Then you're gonna bring the shouting to minus six and rest live the rest behind. What am I saying here? What you see here is a destination. So I want the big the highest, uh, the highest volume, the highest signal which is here, not here. It is here. I think that's a bounce. I don't know like it's anyway minus 19. This minus 19 needs to become minus 12. I'm not saying, But this needs to become minus 12 or Disney's to becoming 12. Normalization is about telling Adobe Audition. Go to the highest signal here, minus 19 to the beak and make this one minus 12. Well, calculations Quite simple. Minus 19 uh, minus minus 12. He's going to be a difference of seven. So we're going to increase the decibel level by seven. A. Michael is Is Adobe audition going to increase the level only off the big hair? Take only the big No. But this is how it calculates what it needs to do. Okay, You said minus 12. So I'm gonna need seven decibels increased, so I'm gonna increase everything by seven. It's a little bit more educated. More. Ah, it's a smarter way off amplifying right, because you have a proper destination. And you know where you go in with your for what you are. A signal. It's apologizing because initially, you are doing what you should have done in the recordist in the recording. The recorder when you were checking the levels. That's exactly what you're doing. You're testing the destination. You're taken the voice off the lady or the boy to the destination. Okay, Now, Uh, let's move to, um to let's let's go back to normal. As in a game here. Just take another frame. Normalize. Right. Okay. What I have here is normalized minus 12. Let's look are Sorry. Just opened this one again. I like to have these preview. It's here on top, Buck again to finalize. Normalize. Okay. And then you're going to a place and see the difference. But hold on a moment. The mistake. What is the mistake? Because we need to come to correct. This isn't meant as a quick fix. You need to remember what you are doing. What have you done in? There are few things you need to take to to remember you. Probably this if you if it's a fiction film. If you have used a clapper board, right, if you've used the clapper board on, well, I'm assuming your car and the use of capable. But if it's a production where there's no clapper board, that's a different story. If you are using a clapboard capable, there's gonna be a 99.99999999% of the cases, um, at the beginning, right or a D end. Yeah, Sometimes when you're you can use a club report at the end, when you have a baby that's asleep and the baby needs to wake up. So you you are going or doesn't need to wake up. You just need to record the baby sleeping. Um, you don't do the collapse of border to begin in right? Because if you do, you grab a border. The beginning. If you need just the baby that's asleep in the whole scene. Um, it's not just about the baby's. He is part of the scene. A plenty of people on. There's a baby there, and it's quite important. But if you could, if you do tickle up about at the beginning, it's gonna wake up. There's no scene whatsoever. He can record. So you've done all your homework to make sure that he falls asleep. You're gonna have the capable that the end. So once you record, it's just okay. Camera rolling sound speed on. Then you say market that market, you don't do it. In the beginning, you do it at the end, you move straight into action, but before action, as we said, you keep your five seconds waiting time. Good. We need that for the noise reduction and then you do your scene on. Then you do the clapper board. Why am I telling you this whole story? Because the club a board is very, very, very loud on because we need to bring this side of the noise print by adding the handles. Remember, we will brought the stuff from Adobe Audition. We got the five second handle, and sometimes you can end up having the clapper board sound inside. So what does that mean? The clapper board is about zero is about because we don't care about the clapper board. Honestly, we don't care about Columba Board. If the Clapper board reaches zero, I don't care. It's therefore sinking purposes. It's not part of the sound of the film, so it can be zero. It can be more than zero. It can be minus one company ministry. Let's go back to normalization. What's this? Minus 12? So you have a clapper board at zero, and you're asking your highest big to go to minus 12? It's not taking it back. It's just adds. So if you are increasing, so I just checks is it's already off minus 12. Yes. Okay, fine. It's minus. It's actually zero. So when you click when you apply it, nothing happens and will be thinking Order a moment. Normal is this is not working something wrong with my proof. You know nothing is wrong with your preview. You just forgot that. Actually, you have a clapper board selected as well. So this whole story is about close this stuff. First place the select. Take only the part that you need then or make sure zoom back again. Zoom back away and see if you have any clapper board somewhere. No clapper board. Fine. Then you select it all. I need you to be aware of this because otherwise you're gonna end up with wildly different clips from one cut to another one. The lady is going to say something is going to sound quite that the boys going to say something is going to start loud. I think I think what kind of a mature work is this? Because it just didn't notice that normalization didn't work for simple reason. The clapper board was inside the sound clip. Okay, That long story just about making sure that the sound clip is clean in this case. Yes, it is. We make sure our sounds sounds. It's clear there's no capable. So we come here, effect amplitude, and there's a normalisation. And then you go minus 12. Apply when you do apply. See the difference here. It's no bigger, no much bigger issues by seven. So what is bigger? It doesn't look like the lot has happened, for a simple reason is just at in seven decibels to each one off them. Okay, it's adding seven decibels, each one of them. All right, So let me just sorry it is to make sure that we have the right comparison. This is what we have. So the minus 12 is here. There's not much off a change because C minus 12 is here. It used to be here. Okay, because I Okay, this is very important where this is very important. This is minus 12 as well. I used to have minus 19 member, but normalization hits the file in this in the India in the hard disk. So what happens is that now the file in the hardest has already bean changed. Meaning even the first preview is showing minus 12. Okay, so it's like it's just like amplifying. It's the same thing, right? So normalization is about increasing the overall volume when you have messed up really badly. When it comes to recording the levels, please make sure record levels of the right level so you don't need normalising. If you need to normalize, pay attention to the clapper board. Think because otherwise you end up with normalization that didn't work. OK on. When you normalize, you are going to target of their level based on the scene. If the same is normal. Simple dialog. It's minus 12. If you call people screaming and initially screaming, it should be like minus six. Fine. Take it to minus six because that's the peak. The big is gonna go to minus six. And remember normalizing physician destination based 19. Mixing Music with vocals: avoid beginner mistakes: mixing music with vocals in Adobe Audition, there is the wrong way of doing it. Then there is the right way of doing it. Now, what I want you to avoid is using key frames to increase the volume of the music and then reduce it based on the dialogue. This is an amateur away that we would like not to use. Okay, because it really ruins the whole dramatic depth off this story or whatever you're trying to do. It's really not there. Even if its untrue view, it's not the right way of doing it when you're working with vocals. So how do we do that before doing that? I want you to because I'm going to give you before and after, For every technique and for everything. I want you to listen to this. It's about 30 to 40 seconds. We have here a scene off a little girl who just checking My sound is okay. Okay. Cool. Um, I have here a scene of a little girl in a war zone. Okay, A little girl. Sorry for that. Sorry. It's a bit too loud. Okay, The story is quite simple. I have talked about this actually before there's the father under daughter. They were running in the war zone, running away to shelter, just somewhere to escape. And then he was trying to save his daughter. However, because they pastor a fire exchange, the father got hit in the head. Okay, Hey, Got hit in the head. He died on her lapse. This is a very dramatic scene. We're a very little girl alone with her father loses the very last person she has. This now is where she is starting to. She's crying, sobbing to are to the dramatic step that we are using a piece off music. Okay, Now I want you to listen to the 30 seconds off the young performance, that absolutely wonderful, astonishing performance off the of the actress without the music. And then we're going to listen to the music along. Then we're going to mix it the wrong way and see how rubbish and I'm authorities. Then we mix it the right way. Shall we do that? Then we we listen at the final piece and I'll ask you at the very end on that's what we'll do on the very and I think is I'm going to switch off the video on Just make you just give you the full mixed one to listen to it to believe. Got more than 70% off emotions live and sound. Not in the image. Okay, so let's do that. I'm starting first by, um, you all Let's go solo Salo in this one. This is a track for the little girl. Let's listen to this. - Okay , so that was the performance without music. Now I'm gonna come back on, actually, Solo. Just the music. I'm gonna leave the visual, of course, but only the music. So what? What am I trying to do here? I'm trying to show you the ingredients that we have. Okay, once we have the ingredients, I'm gonna talk to you honestly about where they really want to keep the beautiful ingredients or you want to mess them with the amateur mixer. Let's listen to this. - Okay ? This waas the music and now we know we have a great performance from a child which is very rare to find, actually, in terms off, child performance is quite difficult to find, So forecasting has taken also you, Jim, out of time to find that girl. Okay, we've gone through plenty off kids to find that I know you have this ingredient in terms off vocal and you've got an ingredient. Wonderful base of music. Actually, a classic is one of the most famous musicians in the world. Um, you bring these two together and you want to ruin that with Ometer mixing seriously, Let's do that. Let's ruin it with a mature maxim. Let's let's let's go that route. I let me show you what? That with another mixing. It's not Michelle. I'm a total Mixon requires basically to come here and say, Okay, I have a vocally and I've got a vocal air I've got here she is now. She is now. Yes, Cremin. So this is a vocal A matter mixing is about double clicking on creating key frames. Now you may have noticed that I have not showing you up till this stage. I was trying to get away with it, to give you the whole dink about sound best production without showing you how to create a key friends. I was hoping I wouldn't need to, but unfortunately I have to show you the bad way of doing it. That's why I need to show you how to create a key thing. Just double click on on the line there and then you bring it something like sorry on these in the whole music. And then you do something like this right? Then you bring it down. This is what you called terrible, disastrous way Mixing music with vocals. Whether it's so, it's an interview for anything. This is what you do not want to do. I don't know how by how much of it uses a minus three db Most monastery. Not sure this is the north part. You know what, Mr It? Let's listen to this. Or you know what? This. That's because I really want a voice to stand out. That's what we want to do. So I'm going more than six minus six. This is the terrible way of doing it. Absolutely not. Good way of doing it. But I don't know how many times an Internet that Right. Okay, so do you know what? What is going on? I just come back to the beginning. Actually, I've opened this too wide in the first place. Yeah. Sorry. This should have been here. I give him a vendor stuff right. This must have been here for being here. Um, district Coval. The whole segment for dialogue. Listless. Interested the first part? Because I don't fancy doing it for the whole clip. That's not that's not fun. Okay. Yes, I agree. I've done it wrong. It used to be a little bit like this. Okay, let's do it like that. But anyway, it's gonna sound rubbish. Anyway, you may get the impression It's okay. This is absolutely terrible. On a professional level, you cannot live with that. Absolutely not. You know what happens. You are completely removing the dramatic depth off one off your ingredients to let another one pass. And then you may be thinking of aldermen that this is not the right way to do it. I have an absolutely gorgeous performance from the child. I want to keep it intact. I will have a fantastic music when I want to keep it intact. So how do we do that? All right. Now, of course, the worst of all is not to mix it all. So if I know, remove these key frames. If you don't mix at all initial plate in the first place, why makes is because if we play it, you are going to notice. That was We move into the whole thing. Just keep going. You're going to notice that the music stands in the way? Yes. You can hear her scream so well with chicken here is like the 4% that was recorded like the proper professional sound. So this is why the sound is great. We can still hear something, but the music is clearly standing in the way. Where do I hear that the music is stunning. The way is when she starts. So been when it's not really screaming. Can you hear something of her? Nothing. Why? Because the music has taken over everything now. Okay, now let's go back. Do it the right way. What is the right way? Simple. What did I tell you? What's your most favorite tool? Exactly the equalizer. If you're lost, get the equalizer is gonna get you out. Okay, so we come here, we're going to equalize. What then? I think Ok, the vocal. No, I'm gonna work on the music. Of course. Um what is the vocal? What's the music? Music is music and then vocal is 1000 to 3000. Exactly. Vocal is not vocal. Vocal is 1000 to 3000. Why did I give you those numbers in the very beginning? Is something that we need to remember? I said 1500. Yes, that's what we need. We're going to work with those numbers. Let me bring our lovely fantastic to the equalizer. Let's bring this. We are applying it. At what level? At the music level of the clip level. Is it? No, that's not true, because it's his truck level. It's a choice. I believe that. Would you? Okay, sir, choice is it's for one particular scenes for one particular clip. Then you can come here. I mean, remove this effect. This is track. You could come here and say clip level. Okay. In this particular case, gonna come here and say I want to apply to the cliff level. But for now, I'm gonna do it at the track level track level and do A gets an equalizer. Parametric Equaliser! No! Uh, this Parametric equaliser we used for something else when we worked with the Parametric equaliser for the vocal. Now we work in with the music. So what are we gonna do look for frequencies. Look for Patrick, who sees good frequencies. No, we are going to do something really cool, which is switch off everything except number three. Why number three? Because I'm lazy. That's why. Because it's closer to what I wanted to be. Okay. What am I looking for? What have you said? Vocals are the core of the vocalist between 1000 and 3000. So within averages for about 1500. What if we would hear 1500 and we ask music gentle e to give us some room? Only in the frequency range where the core of the vocalists, it doesn't mean we're gonna It just means that we're going to open a channel inside music. We're living all the other frequencies completely and touched. We're not reducing the level of the music. We're reducing the level off a specific frequency off between 1000 and 3000. You come to 1500 because it's just a girl. You could go something like whatever I could go 1 600 whatever. It's somewhere in between. And you make sure you are extremely wide when you come look like here U minus 16. That's really but what we can do that we could go Something like minus, um What is it in the first place? I'm just a couple of seasons. First place, just solo. This one. Okay. It says about minus 24 minus 21 when I like my music to be so I'm not gonna be drastic. I'm not gonna effect. I'm gonna be dressed in because you can't. You can't do that. You're gonna have to go with somewhere about minus five ish. Minus seven ish. Yeah, kind of minus seven. So this way, I already Well, we will test. Okay, This is where you're going to test them. Check every time. Which one? But the one where you don't need to test is about 1000. 3000. It's always the place. That's human voice. Okay, so what have we done? I have created you know what's gonna happen in this space? The voice is gonna come. It's like power in water here is not gonna put water. Mother is gonna come and accumulate Here. This is your voice. I have just created a gap for voice to come in. Not here. Not here, Not here. Not here. Just here. And this is how I make sure that my music stays intact. Except for where the vocals are born. Not sorry. They're born at 100. Except for where The core of the vocalist. Let's keep it as is armed. Listen to this. Sorry. Got a solo still So let's go back way . This is how you mix professionally music with vocals and adobe audition. But wait, I have promised I would show you. You will listen to the whole mixing on disses tying, tying back the very under off this off this course with the very beginning, which is the importance of that of sound. Let's now look at this. Of course, we're still need to talk about exporting it, but this is the final bit off the effects. Let's now close this Onda. I'm going to move to the properties window so that we don't see the video and you could close your eyes and just listen to this. - Okay ? Definitely. Emotions live in sound. Okay? This is how you makes your music and adobe audition 20. Limiter: limiter in Adobe Audition. It is important to have a limiter, but you can apply it at any time. It doesn't have to wait for the EQ You It doesn't have to wait for it. Wait for any other effect. But you need to make sure it is in your project. What is also very important is where to apply it. I'm not saying where to find it. I'm saying where to apply it. We have here an example off a scene where we have ahead of police policemen. We have seen this example before and we've got the bus. What? He's got sub track off dialogue, wild track, fully music. And we've created that. But come here to multi tracker than track. And then we created a stereo bus truck. OK, good. Where do you apply the limiter? The limiter has to be at the very, very end. It needs to bed the monster here because if you do it on the track level, it's gonna take off one track. If you do it, say, for example, for head office. Hey, sort of head of police or you do it for this one or, you know, I've got some problems. Actually, in the fully, the Foley has gone a bit too high. So reached minus five or minus four. It shouldn't be the case. I needed toe minus six. So I'm gonna apply a limited No. The limited needs always to be at the master. I'm saying you can apply it as you want, but the professional way of doing it, which is Don't waste your time with clips. Don't waste your time with other tracks. Should go straight to the master and put it there. How do we do that Now, Have you noticed that when we look at the effects rack, we have clip effects on track effects? So when you are selecting a certain clip, you select the clip you need to make sure your play your if you want to apply it at the clip level, you need to bath clip level. Then you know it is this one. If you want to apply track, then it's gonna be track. Okay. So because we are all going to work on the track and it's the massive drug, it needs to be tracked effects. Then you come here and select from amplitude compression and you go to Ah, hard limit up. Why did I go straight to this one? There are many other limiters spread around, but I don't want you to waste your time. Just how limited is the simplest concepts in the whole universe? Off sound First production is the easiest thing you can understand. Undo. But you still have the same problem as we had with the compressor. Is that in adobe you can find the loss of limited spread around in different tools. Let me have a look. Multi bond compress article is limited here. There's limiter you you go different. You go to different places, you're gonna find it. Don't waste your time. Just go straight to amplitude. A compression hard limiter and that's what you want to buy. Now you are going to find minus six year for my limiter, for your limiter is going to be different. Let me just took for No, I didn't look in your case. I think if I remember properly, it was minus 0.1 which I have to be honest. Is adobes way of saying stay away from danger? Because the danger zone is zero. If you go anywhere beyond zero this sound is going to clip on. Clipping is nasty is bad. It's not only amateur, it's really bad. It's unusable. Sound becomes unusable beyond zero. That's something we all know. The thing is, is this enough when I say it's minus 0.1? Okay, so we're safe now. We make sure the sound never reaches zero. We're good to go. No, you're absolutely no good to go for a simple reason. What is that project? Where is it going? That project. What you working on? Where is it going or where could it go? It doesn't mean that he actually it's my portfolio. Think about I could in a year and 1/2 or six months. If I manage to send it to a TV station, it could be broadcast or something. Oh, that's a different story altogether for yours, for your own stuff. You can do whatever you want, but I urge you, even for your own portfolio things to adopt the broadcast para meters. Okay, so the technical delivery requirements, if you want to send something to Discovery Channel if you want to send something to the BBC , has some something to any television channel, it's got to be one of six. It can't be minus 0.1. So thank you very much, Adobe, for giving us the impression that we're gonna be safe with minus 0.1. But it's not gonna cut it. So it's minus six. It's always minus six. For TV. It may be different. OK, but where do you find this number? Is it you find it in this course? No, You find it in your technical delivery requirements. Those technical delivery comes that you get from the festival. If you're submitting to festival for theatrical release, have gone to T cinema for TV for anything has a technical delivery requirements for video and for ordering for you, it tells you must start at and that's your number. What is his mustard at? This is your number for the limiter minus six minus six. And television is actually of sent stuff that televisions, and it's always minus six. Every time you see the television stuff, it's always my six. So if you set your default for Adobe audition to be always minus six, just like when I opened it, it was minus six. Just be there minus six. I'm gonna explain the other one, but there was input. Boost load ahead. Time release time. Cities inconsistent. Look ahead. Time in inconsistent ways of cool in Texas. Attack and release. Look ahead time. It's like seven milliseconds before it's gonna pay attention. If there's if there's a signal come in, that is It's OK. Don't panic. It's OK. It's just a limiter, right? It's just the limiters basically means that you we are going to make sure got the minus 60 . B is never reached. This is not your sound where you have the vocal, where you have the the tail. We need to pay attention to the beginning of the voice when we would need to pay their Sure this is not your own your ah, compression. This is a limiter. Limited kills decibels. It doesn't do anything else. It just kills it. So let's go back to the compressor. It is not. It's not a compression in that mix. Um, yeah, let's go, Teoh. Let's go to Demotic one, because that's I need to get used to that one. So the multi month we said here, too. But what if we go with 30? What does that mean For every one. We give the example of the cause for every 30 cars. You only let one cargo. Okay, in this case, for every 30 cars you don't let any cargo is just 32 0 It's just is it's basically killing all the disciples beyond that level. It reduces the it cuts the volume. So the effect that you are going to find if you, um if you open this, for example, it's double click on this. What is gonna happen if I apply in limiter? Let me just do it right now. If you apply limiter. That's nice opportunity to show you another feature in the interface which we haven't discussed before. Completed on compression hard limits. Let me apply this. He's gonna be minus six that, you see? Yes, yes, that's pretty cool. Minus six is good. Um, because why? I'm saying it's good. It's actually what you should have. But the idea is that my sound I'm saying it's good is because it's going beyond minus six. Otherwise, you wouldn't notice the difference. Now let's apply this. Um Okay, so the effect hasn't been applied. It is activated but has been applied. I don't need to apply it, But I can already see the effect I can come here to the right and click on this show. Preview A deterrent. Something you always want to have on this is before. Um, this is after. So what does it do? Minus six. It cuts the signal. It's not gentle. It really literally cuts the signal completely. At minus six. This is what you need to do to make sure. Initially, in the very first place, you need to sculpt your sound to make sure that it it is around minus 12 for vocals. It is minus six for the largest ones. But if you if you have something that goes beyond the border beyond the minus six daily will be cut. Okay, So this is the effect. How it is done. You are going to need just as I said, just one limiter, and it needs to be done at the master level. 21. EXPORT: you have finished your effects in Adobe Audition and you would like to export your whole session. How do you do that? OK, you come here to file exporter multi track mixed down entire session. Why entire session? Because I as we have agreed for the workflow you are taking this too. Wherever it's going is just one file. If it's going to the venture is awful. Call correction, and you're getting not for the sound. Of course, if the whole project is growing through the video going through DaVinci deserve a result for color correction. Then the old you should be there with Agreed. There's no way back from DaVinci resolve to Adobe Premiere or any editing software. We're going out. There's no way back. So if we're going to go out from DaVinci or from another software whatever, then that is Theis soundtrack needs to go to the final destination. Right? So you're taking it, too. Most likely, the Venturi's also begin to bring an entire session. Click on that and you get the dollar box. And here is what you feel in what? Well, do you fit in here? Here, you're gonna feel in what is written on the technical delivery requirements. Page off the destination. You are sending this for cinema. Theatrical release for a festival for television station. You've got a technical delivery requirements page that has everything about video. But it has everything about audio. Told you, most likely, they're not. It's going to be 48. Killer herds is going to be steady or or surround sound. And it's gonna be 32 bit. Or it could be something different. Whatever that is, it is written on your technical delivery requirements. You don't know what that is. Fine. Just go with 48 kilohertz. Studio at least 24. Or you could go with 32 bits. Okay, If you want to change anything here, then you can just select what you need. Okay? But I would recommend you just stay with the 40 to 48 kilohertz. Stereo. Cool. Okay. And then you said you click. Ok, include Marcus, another meta data open for us after export. This is all up to you. But this is the main thing that please make sure please. Before before, before you export that you have applied the limiter. Yes. The limiter doesn't have a particular moment in time to have it. You can apply it literally at any moment in time, though it's highly recommended to do it at the very end or just before. Um, yeah, you could do it. Okay, let's keep it at the end. Let's simplify. Keep it at the very end. So that when we keep here when we come here, we have the entire session and the master track. That's where the limiter is applied. That's where you do it in bed. Edit original in data. This is your choice. And then you click on OK, and this is how you export your whole session in Adobe Audition.