Filmmaking with Live Sound: Create a Rhythmic Video with Recorded Sounds | Dan Mace | Skillshare

Filmmaking with Live Sound: Create a Rhythmic Video with Recorded Sounds

Dan Mace, Peak Your Perspective

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
10 Lessons (44m)
    • 1. Introduction

      3:14
    • 2. Getting Started

      2:26
    • 3. Developing your idea

      3:07
    • 4. Your Gear Bag & Things to Remember

      2:43
    • 5. Key Sounds & How to Get Them

      3:17
    • 6. Premiere Pro: Creating Sequences out of your recorded sounds

      2:25
    • 7. Premiere Pro: Creating your final track

      4:08
    • 8. Premiere Pro: Edit it Together (Part 1)

      7:33
    • 9. Premiere Pro: Edit it Together (Part 2)

      11:42
    • 10. Wrap Up

      3:23
26 students are watching this class

About This Class

So! You've seen one of my 'Seeing Sounds' videos or one of my bigger sound projects like 'The Real Broadway Musical' and you wan tot recreate one of your own. Here's HOW, Bru!

For those of you that haven't seen any of my sound videos - i record live sounds in my environment and merge them with beautiful aesthetics to advance my film-making and dive into a more sensory, human experience for myself and the viewer. I use this methodology for super fun, short form content pieces on my social media channels called 'Seeing Sounds' all the way to larger scale, award winning commercials for brands like Tusker. 

My journey thus far has spanned music videos, award winning tv commercials and is based primarily on Youtube. Sound in film-making is often overlooked but plays such an important part in the communication of a fully rounded story and message. 

Key lessons include: 

  • Getting inspired by your surroundings
  • Creating or referencing your base melody
  • Developing your look and feel
  • What to pack in your camera bag
  • How to shoot - one constant 20 minute roll (GOLDEN RULE!)
  • How to create your soundtrack from live sounds in Premiere
  • How to edit it all together like a pro
  • Social Channels: What works and where!

This class is perfect for aspiring filmmakers, directors, editors, cinematographers or anyone who is keen to take film-making to the next level by using the live sounds around us - an incredibly important part of the human experience, something us film makers aim to mimic or distort through the lens as immerse-fully as we are able. 

You’ll walk away from this class with a clear vision for your own sound videos and the added ability to merge sound with beautiful aesthetic for stories that immerse the viewer in your intended message.  You'll be able to create your own found sound videos from start to finish using the method I've developed over 8 years and countless projects. 

And... all you need is your gear and a basic understanding of Premiere Pro. 

 

Transcripts

1. Introduction: As the attainability to quality rises, being a film maker or "influencer" has rapidly become a new trend. Meaning that on platforms like YouTube and Instagram, it's really difficult to stand out. But in this class I'm going to teach you exactly how to do that. My name is Dan Mace, I'm a film director currently living in New York City, where I am working on my new weekly show called "Not Normal". Previous to my YouTube career, I had a successful run as a TV commercial director, winning multiple awards, like three Young Director Awards at Cannes, as well as in 2016, I was rated as one of the top six young film directors in the world by Shots Magazine. After that, I quit the TV commercial world and started working with Casey Neistat in New York on a new project called 368. Now I am in this transition phase from learning how to tell a really compelling story on YouTube, to then move over to Los Angeles, where I'll be directing my first feature film. The key skill you will learn here is how to utilize rhythm and create a rhythmic edit. This is done first and foremost through the utilization of diegetic sounds. If you are unfamiliar with what diegetics sound is, that's totally cool. Diegetic sounds are the actual sounds an object creates. This can be recorded through a camera or an external sound device. I just utilize my camera with a microphone in order to record these diegetic sounds. Why are diegetic sounds important? Because they are raw and real. They are the sounds that belong to the objects that created them, not developed in post-production or pulled off some sound library. This truly helps increase the authenticity of every single video you're going to create. You do however, need to come into this class knowing the basics of Premiere Pro, that's the only program we are going to be using, as well as to have a laptop to edit on. If you're looking to increase the overall production value of every single one of your videos, this class is for you. This class is tailored around one of my weekly shows called 'Seeing Sounds', which looks something like this. [NOISE] Doing this is a big creative outlet for me, as well as the fact it really helps me experiment with rhythm and the utilization of diegetic sounds. Now the skills you learn here can be applied to multiple different situations and multiple different styles of video, not just the Seeing Sounds which we are going to create together. But through doing the Seeing Sounds, it's an incredible experiment and an amazing skill set to add to your repertoire. The key takeaways from this class, will be finding sounds that inspire you, creating an entire soundtrack out of live sounds, or what we call diegetic sounds. Very important shooting your entire video in 20 minutes, editing the entire production together in Premiere Pro, and lastly, executing it all online. I really look forward to getting started on this class with you. Let's begin. 2. Getting Started: Every single film no matter how big or how small is broken into three production phases. Pre-production, production, and post-production. Welcome to pre-production, which is essentially organizing, scheduling and just figuring out what it is that you're actually going to shoot in the first place. We are lucky then because we know exactly what we're going to be shooting. We going to be creating a seeing sounds episode. Now, in this lesson we're going to learn about how to utilize your surroundings to get inspired. How to make use of the sounds in your surroundings, to start developing a rhythm, to start developing an idea of the soundtrack that we're going to create. First and foremost, it is very important to isolate different songs in your surroundings. I do this by going to what may seem like the most chaotic areas sound words, and try and isolate different songs by closing my eyes and listening to each of the objects the different sounds come from and imagining how I could cross over these songs, for instance, a kick drum. This is essentially any doof sound or any sounds that could create a melody of some sort, this through human voice or an instrument and most of the time, the most difficult to find is some baseline. This is what's really going to create the funk or the groove, the head nod that you want within each track you're going to create. Then on top of this, it's important to note that aesthetic is hugely important yet aesthetic meaning that it needs to look good too not just sound great. It's about merging good-looking visuals with great song. Once you've done this, the next step is very important and that's called referencing. It is extremely important to create a well-rounded reference document, place it into a well-organized fighting system. This will really hope when explaining your idea to others. Everybody can be on the same page by seeing or hearing exactly what it is you're trying to create. Referencing is really key for the creation of any video big or small. It is super super important. I can't stress that enough. Once you've referenced the track that you want to create, it's time to develop a BPM. This can be done super easily by taking the track and putting it into a BPM generator and figuring out exactly what the beats per minute of that track is. Once you've got the sorted, let's move over to the next lesson. 3. Developing your idea : Welcome to the next step of the pre-production phase, which is broken into three segments. One, choosing your location, two developing and look and feel, and what to look out for when doing so. Lastly, accessing, the current nature and relatability of your idea. This is super important and will help maximize your viewership and your engagements if done so correctly. When choosing your location, make sure you do something that abides by the law of the city that you're in, you really don't want to get yourself into trouble and when it comes to locations, it can get a little bit sticky and for certain areas like train stations or especially in any form of transport, you're going to need some form of location clearance and this just becomes really difficult. It's important to make sure that the location that you have your eyes set on is attainable to shoot within a day or two. Another thing is sound, I know earlier we spoke about being in a location where there's a lot of chaotic sound that was purely so that you can listen and try and isolate sounds within the chaos. But when looking for location to shoot in, you're going to want it to be minimal to next to no sound whatsoever. That's why if you take a look at the previous sync sounds I've done, I'm genuinely out at sea, or in the middle of a forest, or in someone's studio or in the kitchen. These areas are really nice and attainable as well as relatable, people know what these locations look and feel like, as well as they're quiet. When it comes to developing and look and feel for these sync sounds episodes, the field is generally pretty erratic, it's all over the place, there's lots of quick cuts. Therefore makes sure you're in a location where you can set up a tripod as well as there's a lot of distance where you can move back and forth within front of the camera, you never want to move the camera, you want to be doing the movement yourself. With the look, it is important to try and stay away from shooting in sunrise or sunset. Even though these are very favorable times of the day to shoot for a filmmaker, when it comes to sync sounds, you don't want too much movement with the clouds or with the sun as it dips up and down as this will be very contrasty when moving back and forth between sounds, also noon is just not the right time to shoot, the light is way too harsh. So I would stick to a few hours before noon or few hours afternoon would be the best time of day. Unless, of course, you are shooting inside, which makes things 10 times easier. Lastly, making sure that your location you choose is timeless, relatable and engaging, this is all super important when it comes to the stickiness of your clip. Say for example, right now what's hugely trending is area 51 and discussions around aliens. If you can get to outside area 51 to create a sync sounds, I'm sure it would go completely viral. So always make sure to look at current trends, read the news, see what's happening, and try and involve your sync sounds around something that is highly engaging. It can also be timeless, for example, like I did with cooking food in the kitchen, something that everybody understands, it's a day to day task and you can really elevate this. Make it humorous and just all round fun and entertainment. 4. Your Gear Bag & Things to Remember: This is the final step of preproduction. When you are working on a big set, what we are about to do, is known as a technical recce. It is highly important. This is making sure that all your camera batteries are charged, you have extra batteries, you have tested out your lenses, you've tested out your cameras, you've tested absolutely everything, your sound, so that when you get onto set, you don't have anything to worry about. If something is broken, well, then you can blame somebody else and not yourself. But yes, without a technical recce comes loads and loads of stress down the line because that's film-making, and at the end of the day something always goes wrong. Having two angles is not important at all. I sometimes use a second angle, but that's only really effort made sense for the narrative. I generally like to make use of only one camera. It makes it look a lot more attainable and has a kind of unfinished look to it, which people on social media in this day and age gravitate towards a lot more. In saying that, the quality isn't as important as what you're actually doing in front of the camera. I love the idea of being able to just shoot something on your cellphone or a DSLR that shoots 4K, that can do a whole bunch of ridiculous settings and high speed. You can use a GoPro here. You can pretty much use anything that can record video. Just make sure in your location that there is sufficient light. Then you don't really have too much of a problem with graininess etc, with whatever device you're shooting on. Cellphones work brilliantly. Make sure however, that you do have access to some form of tripod or a way to keep the camera so that it doesn't move. My camera bag looks something like this: one times DSLR with three extra batteries; one wide zoom lens. My go-to is a 16-35, 2.8, L series; two formatted 128 gigabytes cards. Now, it is very unlikely that you are going to use that much space, but always be safer than sorry; one onboard camera mic which is sufficient, and if you do want to take things a little bit further, you can make use of lapel microphones. I only do so when I'm in an area that is a lot noisier than others because lapels rarely help isolate the sounds, but it does complicate things. As I said previously, if you can get into a location that is quiet, making use of just an onboard mic on the camera, like I did in this kitchen scenario, you'll be able to really streamline your postproduction process. Then lastly do a final quality check with everything, making sure that everything runs smoothly. All the batteries are fully charged, there is no scratches on your lenses, etc. Pack it all in your bag, and then you're set to head into the production phase. 5. Key Sounds & How to Get Them: Welcome to the first step of the second phase of production, which is called production. This is where the real action is created. We are now going to go out and record your sounds. This part is the most important and probably the most complex but if done correctly, everything will move seamlessly from here. So listen up, this is very crucial. In each scene sound, it's important to break it into three parts; the melody, the baseline, and the beat. So what we are going to do is take our BPM, a beats per minute, which is going to set at a 120. Export that as an MP3 click track and get it on your phone or some accessible device so that you can have it with you at all times when out on location. If you're still confused, here is an example of each. Melody, baseline, and a beat. We will begin with melody as it's the most complicated and complex, especially through utilizing diegetic sounds. In the example of cooking in the kitchen, I made use of the pots and pans and the lights above me to create a simple melodic tune. Ding dong do do ding dong do do. From there you can start harmonizing. There wasn't many options within the kitchen, but I made use of the microwave. Baseline is also always very complicated but one great thing that you have that always creates a baseline is your voice. For the females, you can always pitch your voice down and create something a little bit deeper or if you don't want to do this option, look for something that has strings attached to it. We can really pull or pluck to create a boing. In each scenario, it is important to do between eight to 12 different sounds. You'll see why in a bit. Then lastly, once you've done those other two, creating a beat is highly easy. This can be done by pretty much banging on anything. In a simple beat structure, you're going to want a kick drum, a high hat, and a snare. With these three sounds, you should be able to create a simple rock beat that sounds like this. The go to's for me is my foot, boom, my hand, clap, which goes as a snare, and then I use my mouth as high hats, ts ts ts ts ts ts ts ts. So this first lesson of production is about going around your space, hitting on things, banging on everything possible, without breaking things. Unless, of course, that is a part of your video and you have permission to do so. But it's about getting a feel for all the different sounds in your environment so that we can move on to the next step. 6. Premiere Pro: Creating Sequences out of your recorded sounds: Now that you've followed all my simple steps to prep yourself 100 percent, this phase should be ready seamless and mostly fun. The number one rule for shooting a scene sounds that you should only role for 20 minutes or less. If you can get it to lower than 15 minutes, you're winning. In this frantic kitchen episode, I was able to do it in approximately 13.5 minutes, which is what really gave it that rushed look but it also made the post-production process a lot more simple. Once I start rolling and I can feel that it may go over the 20-minute mark, I cut the role and I start all over again. It's very important to set boundaries like this for yourself because what happens is, at the end of the day, we are filmmakers, we're artists, we like breaking the rules, but if we bend them too far, then on the next episode you're going to shoot 30 minutes, the one after that, 40 minutes, before you know it you'll be shooting for three or four hours to just complete something that should be as simple as a 20-minute roll. Please stick to this time constraint. So what you're going to do here is set up your tripod and your camera and makes sure that you shooting the right aspect ratio for whichever social media platform you putting this on. So like with the one above, we've shut it at nine by 16, which is portrait mode on a cell phone, which goes best for the platform Instagram. We do crop it down to four or five so that it fits the Instagram wall as well as way more shareable on a platform like Twitter. Make sure that the center of frame is where most of the action is going to happen and then that you have the ability to move back and forth in front of the camera. Makes sure that you don't move too far to either side, and that you are always within the frame when creating each sound. If you're filming yourself and you don't have a friend to help you, then make sure you put your phone or your camera, flip the screen onto selfie mode so that you can see exactly what you're doing. It could become very tricky if you're trying to look at the screen and try and frame app as well as creating the sounds which could be one a big mess. But having a friend or a parent, or an aunt or whoever can just stand by and watch and make sure that you are in the frame, that's perfectly cool to you. Then lastly, do one more sound check, play it back. If it's all good, you're good to go, press the record button and I'll see you in the next lesson where we're going to edit the entire episode. 7. Premiere Pro: Creating your final track : Welcome to the third and final phase of production, otherwise known as post-production. This is definitely not the most popular phase of production, but for me, I love editing and it really is where you get to take your work and elevate it, to turn it into something that becomes uniquely yours, to really add your signature style to something. First and foremost, with post-production, makes sure that you have filed everything correctly as follows. In a project like this, where we're focusing on really streamlining the process. We only have one footage clip, which makes things really simple. Our referencing folder, and then obviously a project file folder. Go ahead and open up your Premiere Pro, make sure you save your project in project file that you created. Then proceed to labeling your project file. I'm going to call mine seeing sounds episode 8, because this is my eighth episode. Make sure that whatever you call the clips, just name them accordingly with numbers. This will help you when you go back and you want to find the project file of the episode that you were doing. Once you've done this, you're going create a sequence setting. You're going to click file, new, sequence. Under the sequence presets, scroll down to digital SLR, click the drop down menu, and select DSLR 1080p, 24 frames. From there we're going to go ahead and click on settings, where you set the horizontal frame size to 1280, and the vertical to 1600. Then make sure you name the sequence something like full clip. Then create a project pane, called sequences. Drag this sequence full clip into that, we're going to create three more sequences now. With the same sequence setting presets, go ahead and create three separate sequences. One called melody, one called baseline, and one called beat. Then to stay organized, take all the sequences and drag them into the selected folder. From here we're going to go over to where we have saved our footage, and we're going to import it as follows. Go file, import. Select your seeing sounds episode 1 folder. Go to footage and pull your clip in. Makes sure now to create a pane called footage and drag it with into that pane. Lastly, we're going to import our BPM track for guidance. Import it into the project as follows, and we're going to make a pane called extras, where we can drag in any additional sounds if we decide to download them and import them. This is just to keep our project clean and everything in the draws accordingly. Now, what we're going to do is, we're going to open up the four different sequences on the timeline. We are then going to break up the full clip into these three different sequences. Make sure that when you select a section from its Internet's up point within the full clip sequence, that you copy and paste it into the correct sequence, and you don't cut and paste. It is always important to make sure that you have the full clip there in case that something happens and you need to go back and maybe lengthen the clip, et cetera, or look at other sounds. Once you've broken up your melody. Copy the footage from the full clip timeline and post it in your melody sequence, and then close the gaps. Play it back to make sure that you've got the right sounding takes. Your baseline, and your beat. You should end up with a sequence of samples with your favorite sounds that'll end up making your beat. We're going to create a new sequence called Final Edit, with exactly the same sequence settings as the other sequences. Now that all that organization is done, we are ready to move on to the next phase, which is actually editing together this entire seeing sounds. Now that there is no doubt that we are going to complete this, and it's going to be awesome. 8. Premiere Pro: Edit it Together (Part 1): I make the seeing sounds a maximum of one minute long. This way you can put them on your Instagram wall and it'll play the whole way through. But the track in its entirety should sit at around 55 seconds, just so that you have some in and out points at the end, or funny moments, if you'd like to sign it out, or sign in your seeing sounds. I'm just going to quickly play you an exciting version of the edit that we're doing. Then we're going to break it down and create a much more simple edit. This is after a lot of experience with music and with rhythm. I highly suggest that if you're into really developing your flow and style with rhythm, to take part in some more Skillshare tutorials based on music production. In this snippet I'm about to show you, you'll see that the audio file is a different color. That's based on the fact that I have re-imported and mix and mastered audio file. [MUSIC] This is all done with raw sounds. [MUSIC] Then what I did with this clip as well is recorded some vocals. I enjoy to do this from time to time, it just ups the comedic value of the piece. [MUSIC] Going right back to the beginning, what we going to do firstly, is focus on only creating a timeline that's one minute long. This is the timeline that you can utilize on your Instagram wall feed. Now what you're going to do is you're going to create a sequence called full edit. This is exactly the same sequence settings as what we have previously, 1280 by 1600. We're going to take that, we're going to put it into our sequence folder. We're going to open it up. There it is. We're going to take our out point and take it to one minute just so that when we're looking at it visually, we can have some idea as to how much of the time line you've taken out. The sound check in its entirety that we're going to create is probably sitting around 52 seconds. This gives us three or four seconds at the end and five seconds in the beginning to intro it. If you recorded a clip where you were standing awkwardly just about to begin, or where the frame is clear, utilize that in the first five seconds. I always put the beginning and the end right in there, upfront. If you go to our full clip, I did this whole sequence where I was putting down the cheese and the butter and the oranges. Then I pop out and throw the eggs down. We're just going to go ahead and trim all of those out. Make sure you utilize the sound here two of each, because this will really help guide the viewer into the understanding of what we're about to do. What I like to do in a sequence like this is, I just take the clip and I pull it to the layer above, just so that I don't have to copy and paste it and copy and paste it in. I can do it all in one go with a batch select. I can see what I've done by just having it in the layer above. This style of editing is super simple. It's very basic. But it rarely makes an impact where you're showcasing, cutting through a scene really quickly and there's lots of raw rich sounds and it's [inaudible] , even if you don't understand any form of rhythmic value, it really makes sense to a lot of people to hear the sounds from the objects and it really draws you into the clip. Then once you're happy with all those clips, you going to select them all like this. We're going to click Apple C, which is copy. We're going to go over to the full edit, and then Apple V, which is paste. Then we're going to go over here and we're just going to ripple delete in between. That's by right-clicking, boom, ripple delete, which just brings all the clips together. Then the next thing, we need to resize just to make sure that our frame is sitting in the right place. Then if you're shooting 1080 by 1920, which is portrait, and resetting in a four by five crop, just shift your clip around. I'm going to show you now. We are going to select the clip. We're going go to the effects controls. We're going to utilize the position over here and then we are going to select the x and y points and just shift the clip right up. You select Motion, and then you select Command C for copy. You select all the other clips, and then you press Command V, and that will just paste the position on to everything. Now we're going go through, we're just going to cut it nice and short. The trick here is to really make it look at your wave forms at the bottom. You only really need to have that point of the clip. Ripple delete, get it right to the beginning, boom. We're happy with it there. Like I said, rhythm is not too important here. We are not yet creating a musical beat, but we are going to get there. See that great sound from the bacon there. That could be utilized as a snare, which we'll get into later. See edit for a clip, that's a little bit longer like this. Just have it land. Cut there and then the next sound only really happens there. Now what I have is what you call a miniature title sequence that I like to put in the front of all of these episodes. It's not vital to have one of these. I'm just going to jag it in and show you where it sits. So ideally, as I come up and start to scream, that'll be this climax into the drop of the song that we're going to create. So I want my title sequence to sit just before that. [MUSIC] Let's go and have a look for just an ending. So we can slot that in. Then we can pull in our BPM and see exactly how long this clip should be. [MUSIC]. I like that clip, so I'm just going to copy it Apple C. I'm going to go over into the full edit and I'm going to Apple V, which is paste it. You're going to put it into the end here. Let's drop it just short of a minute just to frame before. Now we're going to import our BPM track, I'll guide, which is known as a click track. We're going to go down here, select the click check. We're going to pull it in and we're going to end it just before there. Seeing sounds intro. We're going to go straight in. So that's really where we're going to take this process forwards, is I'm going to teach you the very most simple steps of how to create a rhythmic track. 9. Premiere Pro: Edit it Together (Part 2): What we're going to do is, we're going to start off with what we call the beat, which is broken into three parts. First, we've got our kick drum, then we've got our snare, and then we've got what you call your high-hats. We are going to go and build those. I'm going to explain to you exactly in a four by four, by four by four by four structure, four beats by each bar. Great. We are going to start developing a beat, and we're going to start with a kick drum. In speaking about four by four, don't worry too much about that, we can simply count. With your bpm track or your click track or your guide piece, and it's highly important because this is essentially going to be your counter. We are going to count one, two, three, four, one, two, three, four, one, two and so on and so on. As you can see, I've added markers at the bottom here. You can do this by simply just kicking M, and that's just to count your bars. Four beats means above basically. A simple rock beat consists of having your duff sound, which is your kick drum in the first beat of every bar. We're just going to go along and do that. There we've got our duff, duff, duff. Apple c for copy, we are going to go into full edit. We are going to select ''A1'', ''V1'', and when we drop it and boom, it'll drop like that. Now, you see the wave forms, make sure that this wave form here connect with that wave formed at the bottom, we are going to cut this clip a little bit shorter. Then, we are going to go here, see the waveforms start a little bit too far ahead. What we are going to have to do is, move to here. We've got to a duff 2, 3, 4 duff over here again. Now, we are going to go in and add our snare, our snare will always happen on the third beat. It will go duff ,duff, [inaudible] , duff, one, two, dush, one, two, dush. We are going to go over to our beat. There we go, we've got our snare right there. [inaudible] waveforms to link up. Now, what we are going to do is, just to add to this. As we are going to add in what you call your hats [inaudible]. What makes a great sound for this is the bacon hat score on every single beat of every bar, hit over to beats. We are going to have, what we have here It. Now, what we are going to do is, we are going to select our layers above V2. We are going to look here and select V3, unselect that. That's just so that when we paste it in, it doesn't land right on top of our clip in that layer. Let me go. Make sure it's the exact size here. Then you can just simply copy and paste and everything will sync. Now, what you are going to do is, you are going to go through that. It looks pretty boring. It's starting to sound cool, we've got something constant. Something that you'd get better, hitting on going. We'll look at the visuals next, right now it looks a bit messy, it's all over the place. Just make sure that you have every clip and every layer that you need. Then we can go through and stagger it, and utilize the more aesthetic ones and make sure that we're not being repetitive and maybe pull in clips from other pots that just work there. They would like to some area, make sure you record yourself creating the sound in all different areas in front of the camera, some from far, some from close. This will take away from it looking repetitive. Over here, this is off the four bars. Now, we are going to want to start developing our melody. Our melody will then come in, and then after that we're going to introduce a baseline. Together, we are setting at 20 seconds right now, but what I'll do in the ending is then a quick breakdown of a more impactful track. I'm going to create, say, 30 seconds of this more plain and simple version. Then, I'm going to go and showcase just a really advanced piece of music right at the end. Let's go over to melody, lets have a look. We'll copy that. We'll go to the full edit. It's very important to start at the beginning of a new bar. Once again, we will not select ''V3'' and ''V4''. This will just layer it nicely. We'll do this for four bars. The second bar, third bar. It will just copy and paste those two bars. We'll go down, we'll select these two bars, just the audio files. Now, that's quite nice actually. That's unplanned. But I slowly removed the beat from that, and now what we'll do is we'll introduce everything along with our baseline. If we go over to our baseline folder now, over here, and we have a look and see. That lasts for two bars already, which makes our life a little bit easier. I'm going to go full edit, we are going to come in right here. It should just all sync up for us. Once again, we are now going to select ''A5'', ''V4''. We sitting on different layers. Boom, let's see if it fits in. What we'll do is, we'll just repeat it again. We can do whatever we want to here, I think maybe we should introduce some hats first. Let's make sure we select the right to roll. Then over here, we can sovering our kick and snare at full force. Just make sure that everything lands on the beat. [inaudible]. Now, if you remove your click track and you listen to what you have. Now, we are going to go, and I'm just going to quickly show you how to add variety and more sounds in here. But you don't have to go this extra length. Right now, it's just about focusing on getting the timing right just for a simple rock beat. Then we are going to start adding in extra elements and extra video footage. But for now, let me just quickly show you the way you can take this tools. Orange juice. Good morning. Now, we can bring it all down to a similar layer, just to tighten up and [inaudible] or edit a bit. Then it's about looking for the black [inaudible] in your edit to, you want to fill in with different sounds. If we want to look for different frying songs, we are going to go over to our full clip, and we're going to look at anything where we've got the stove or just something that's going to give us that idea of frying. There we go. Let me take that, copy. Just remember with videos like this, you need a deselect from the audio, which is called unlinking. You right-click, you go down here to ''Unlink'' home, you scroll down to the audio, click on it and delete. There we go. Let's have a look here, let's use this to fill in the blank gaps. [inaudible]. Once you're happy with your clip and it's done here, just before you export, we are going to select what we call a thumbnail. This is what will essentially draw people to come and watch your video on your Instagram wall. Now, the way the thumbnails work with videos, is the very first frame, is what becomes your thumbnail. What I do is just scrub through the clip until I find something that looks engaging, something may be funny, something that I would click on. I go and I select a screenshot of that, which I'm going to show you how to do now and put it in and just make it a frame worth. It's very important or else when you upload it to Instagram, it's just going to select its own visual, and it may not suit your feed. What you do is, you find the clip that you like. I like this clip of me throwing an egg. It looks really interesting, where it's like splattering off like that. I'm going to select this little camera bats and ''Export frame''. I'm going to save it in my file as thumbnail export as a Jpeg. Boom. Done. Now, we are going to put this directly, and all you need to be a frames worth, there we go, we've got our frame. Now, what we are going to do is, we are going to export file, ''Export'', ''Media'', select. Great. We're going to name this, ''Seeing Sounds Skillshare''. Great. We are going to put it into our root folder. We are going to select ''Save.'' That's great. Here, it's already matched your sequence settings for you. That's so good, and ''Export.'' Boom. This is my favorite part. Take a deep breath. You have completed your project. Amazing. Well done. 10. Wrap Up: Well done for completing your sing sounds lesson with me. Just to recap, we when through that any film production of any size. Any creation of a film consists of three phases. Pre-production, which is organizing, short listing, and scheduling, as well as later when you make it bigger films will put budgeting into that too. The second phase, production is shooting everything and actually recording it and set, and the final phase of production, post-production, which is editing everything together and executing it accordingly. Make sure that you always reference. Almost everything you go and do, make sure that you watch a clip or listen to a sound or a song that relates to what it is that you're trying to achieve. This thing should all be folded very systematically and it should be easy to find and label it correct. Once you go out to record your sing sounds, make sure that you only do one take of 20 minutes or less. Then makes sure to create different sequences, each containing the section it fulfills within the overall track. Once you've executed it all, make sure that you select a compelling thumbnail. This is done on Instagram by taking your thumbnail and placing it in as your very first frame. This way when it goes into your Instagram wall, it will showcase that first frame as an image and it wont make your wall tacky, and just collect some random screen grab from your piece. Then you will caption it accordingly. Make sure you write something that's engaging. Possibly ask a question or speak about some current events. Now, let's take a look at the project. For this project, I would like you to create your first one-minute sing sounds project in the comforts of your own home. This is the best place to become comfortable and gain confidence before you go out into bigger locations where you may have to do some performance in front of camera, they may be others around, and it starts to become a little bit more complicated. You can create a melody from scratch or try and copy an exact to reference, then take 5-10 different objects from around your house that creates either a beat, a melody, or a baseline. The take one house activity and utilize this as your overarching concept. For my example, I make use of cooking breakfast in the kitchen. I've provided you with my preparation document for this kind of film-making. Makes sure you fill it in before you start, and then upload it to your project workspace. It doesn't have to be perfect, it's just a neat way of being able to scribble down your ideas and your kind of stream of conscious thought before you move forwards. Then like I do, take this with you when you go out and you search for locations and you can scribble down notes and make sure that you have this when you go into shoot, because you will always forget one or two things if you do not keep notes. Your end result should be a one-minute sing sounds fully fleshed out rhythmic soundtrack. I really look forward to seeing your projects. Lastly, it is a pretty complicated thing to pull off, so don't get bleak with yourself if it's not perfect the first time. It takes a lot of practice. But you can only get better at something if you decide to start. Don't forget your awesome. I'm Dan Mace, and I look forward to seeing your projects.