Making Music to Video in Studio One

1. Introduction: He? One? I'm Gary Hibner and welcome to this class on working to video in studio One. Now in this class, we're going to see how Studio One works with video. I'll be covering how to pull video files into studio one and how to view them, Deciding on tempos to use to match the video, finding key points in the video to make your main theme hit right there. And also how to design sound effects and ambulance pieces to match up with the video. Finally, we're going to see how we can export out our video and embed the audio with it that we've been working on now that you know what's going to be covered in this class. Next, let's jump in and see how to get started. 2. Video Formats Supported: Now that you know what's going to be covered in this course, let's first take a look at what type of video formats are supported. Here on the Mac side, you can see that it supports these types of codecs with Quick Time, Then with Mpeg four and M4v. Here you can see the type of file and then also the codec that is supported. Likewise, if you're on a window system, here are the codecs and the supported video formats. Just make sure that the video that you are going to be pulling into studio one does support these video formats and codecs. Also, just make sure, for example, that you've installed the correct code so that you can play these type of videos. A good way to check if you can play this video is on your system first to open up that video file in a video player. Then you know that your system supports it and that when you go into studio one you'll be able to add this video as well so you can view it and edit your music towards it. Now that you know what video formats are supported. Next, let's jump in and see how we can add a video into Studio One. 3. Stock Video and Sound Effects: In this video, I'm want to talk a bit about stock video and stock audio that you can use in your songs and projects. For the video that I'm using to demonstrate how to work to video, I used a stock video from Video Hive, which is part of the envato market. And it's by the user over here, Vladimir Underscore AR and it's called Mechanical logo. Now, I used the stock video footage because I wanted to get something that you could also follow along with. So you can try out this stock library as well and then start composing your own music to it. Now the reason that I like to use stock footage is I don't always have the video or material that I'm looking for. It's really nice to go to a stock library with some video, find some files that you want to work with, and then pull this into studio one and start working with the stock footage to build up your skills for working with music to video. Now for the other video, I used this one over here, which is the cloudy sunset landscape by MK Stock. And what I also did is I've also used some stock audio sound effects. Now, sound effects are a great way to improve the audio visual experience. So you add sound effects that match with what's going on in the video and just enhance the whole audio and music experience. So basically you locking in with the visual with audio, sound effects, music and sound design. Now I use pond five for similar side effects. This is a great place to look for stock libraries. But basically there's tons and tons of different stock libraries available. Definitely go and explore and see which ones meet your need. For example, for pond five here I could get a side effects and type a wish side effects. I could find some audio wish side effects that I want to use in my production. It's really great to build up a side effects library of your own that you use that you can use in your productions. Because you never know when you need these side effects to add to your audio video work where you just need to enhance the audio visual experience. 4. Importing a Video and Viewing the Video Lane: So now that you know what video formats are supported, let's see how we can add an import video into studio One. The important thing to note is that there's a global video track. You can show it by clicking this button here and choosing Video. Now you see your video track. If you click again, that will hide it. If I actually just take this and extend it out, then you can see it there as well. There is my video track. I'm just going to bring this back in again. Now to add a video, all you need to do is just simply drag a video file in. I've got this folder over here and I've got two video files. I'm just going to take this video over here and drag it on. And you can see that it's locking to my grid and I can just place it right in the beginning there. Now, this video doesn't have any audio. But what does happen is when you pull a video in, it pulls in the associated audio track as well. If I pulled a video and that did have some audio related to it, you would see it down here. I don't need this. What I'm going to do is selected and delete it. But what happens there is it's deleting the video and the audio track because the two are linked. I'm just going to undo that. If I click over here, it's going to unlink them. So I can actually just move this freely around or I can even delete it. There you go. Now I'm just seeing this video track. I can link again, if I had some other audio, I could link the two together. But for now we just can leave it at that. Now if I play back, I'm not going to see anything. These are the thumbnails, But if I double click this, it's going to open the viewer. And if I play back, I'm now going to see the video. It's actually really handy having this video player. You can make it smaller or bigger and placed where we normally, what I do is I make it a bit smaller and I place it in the upper right hand corner. And then while I'm working on the composition and building up the tracks, I can easily see the video. And when needed, I can just make it bigger if I'm going to just focus in on a point. So maybe I just want to scrub around and find the exact points. I can make that bigger. If you've got a second display, you can throw your video player up into that as well. Now a good thing to point out is that video is related to a frame rate. And you can all different types of frame rates. For example, 24 frames per second, 2,529.97, 30, and so on. Now what you want to do is work to the right frame rate that your video is in your song. Now how do I do that? One of the ways I can do it is I can go to my song and then song set up. You'll see under the general tab here, we've got the frame rate option. And I can choose to pull it from the video. Now I know that this video is 25 frames per second. Let's say, for example, that my video was 30 frames per second, and I click from video, it's pulling the frame rate from that video. Now another thing to also point out is if you go to a studio one and Preferences, there is an advanced tab and then a video tab down here, and you can set to get the frame rate from the video when you input it in. When I dragged this in, it detected the frame rates and added to the project. Then I can also automatically create audio track for the sound of the video. Now I'm going to take those off, apply them, and do this again. I'm going to undo everything that I did there, so I've got no video track. I'm going to go back here, pull that video back in and see what happens. Now, I don't have that audio track that was automatically created because of that setting there. So I'm just going to go back there, just check what happened. You can see that I didn't automatically create an audio track. And that's fine. Sometimes you do, sometimes you don't need it. Then I can just apply these things if I need to. And I want to go back to the song set up and just make sure I'm pulling the right frat, and that is correct. So there we go. That is how to add a video into studio one. Now another thing to point out is that you're also going to be working to time codes. So a lot of video, they'll give you details on the video saying at a specific time code they want something to happen. Sometimes they embed the time code or burn the time code into the video, so when you play it back, you see it. But I don't have it in this video, so I'm just going to close that. And what I want to do is I can either change my L over here to a time base of frames there. You can see I've got frames, and I can also see frames down here if I wish to. So I can change that frames, and there's frames. But what I want to do is I like working to bars when I'm composing. But I also want to see the time base showing frames. I'm going to change this back to, is it over here to bars, and then I'm going to write, click again here and open a secondary ruler that is going to show frames. Now I've got the benefit of I can see the frames over here, and then I can see the bars over here. And I can use this to my advantage when I'm writing my song, because I'm going to show you how you use bars to detect the tempo and choose what tempo you're going to be working at when you're writing to the video. Some other things I want to point out is how you can work with videos and what you can do with it. You can use any of your editing tools on the video. I can move it around like this. I can cut it. So let's say I wanted to cut it over there and move it around. I can actually split up the video into different parts and areas that I want to work with. Maybe you do want to do this and the beauty with this global video track is that you can also use multiple videos at the same time on the display. I'm going to just remove this video. I'm going to go back to my little folder over here where I had the videos. I'm going to drag this in the game. It's going to automatically create my audio track. And then I'm just going to zoom out and add another video that pulls in this video. This one didn't have any audio associated with it, It was just a video file when it was exported out. It didn't have a where this was. As you can see, you can work with multiple videos on your global track. You can also use editing tools to cut out and make changes to it and basically use these editing tools like it was an audio track. One more thing I just want to point out is that when you do have an audio track that is linked to it, you've got the audio track over here where you can solo and mute it. Maybe it's a dialogue track, and you don't need to hear that dialogue when you're writing music to it. Then you can just met it or you can change the volume as well. Okay, so that is what we done with the video. Now next up I'm going to show you how we're going to decide on what we're going to be doing with this video. What tempo are we going to be using, and where are we going to start composing the music for it. 5. Finding The Tempo: Now in this video, let's take a look at how we can work with frames, different rulers displaying the time. And how we can find a tempo for the music that we're going to be writing to this video. First off, I've got my ruler here and it's displaying it in bars. I like working to bars because I can decide on interval values that I'm working to. But also when you're working to videos and you scraping through, you want to know exact frame rate points that you can use. Because if you're working with someone else, maybe you're working with an animator, a video editor or something like that. They might say at a key frame rate point, they want something to happen. Just bear in mind, down here in the transport, you can choose what you want to view here. Normally you've got bars, but I've changed it to frames. And what I can also do is I can leave this as bars, but I can click over here or right click over there and use a secondary ruler. And for the secondary ruler I want to view frames. What I've got here is I've got bars up here, and I've got frames up here. So it's nice that when I go to a specific point, maybe I'll go over here. I can see the frames timing and use that as a reference. But the next important thing to figure out is a tempo for this piece. Now this is quite interesting area where you can write pretty much at any tempo, but what I like to do is watch through the video and find a key point where there's going to be a end to the music. And then work backwards from that. If I just play back from the beginning of the video, you've got this fade, end of the animation, this movement that's happening then right over here, it is a big hit. I want that hit to be key points and ending of a theme or music motif that I'm going to be using, just playing back again is the intro. Things are moving in and then right over here, wow, there's a big hit and I want that to be the end. What I want to do is I want to bring up my tempo lane. By default it set to 100 and I'm just going to scrap across until I see where that hit is. If I move over here somewhere, right over there, that is the hit. Now I want this to line up with a specific bar point. You can see here, I've got bar one to bar two, bar three to bar four. Now how about if I speed up so that, that hit, can hit right at bar four. I'm going to take this and move it. You can just move it slightly and then just scrap across again. I'm looking at bar for it's getting close. Let's pull it up slightly, a bit more about 114. Watching this video here, it hits almost there. I'm just going to make the tempo a bit bigger. Maybe two more. Maybe at about 116 Vida scroll across around Fu. We got that hit. I scroll back to the beginning. Here I can actually put a click in. Let's put a click in. I'm not on the click and watch it. Bar four there. That's a nice way to work. Another way that you could do this is let's just say I go back, I'm just going to go back to 100 BPM and I'm going to find that point where it comes down somewhere around there. Yeah, there I can use my editing tools to edit the video. I'm going to edit right there. And you can see that's the end. And I can just bring this up until it gets right on bar. We had 116, right. I can maybe take that hit a bit longer. Let's see. Yeah, that's good. I use that as a gauge. I can edit that end and then drag it back out again to reveal the rest of the video. Just watching gain with the click. Got that hit on bar four, that's why I said I like using bars and then frames. You can use the frames to find a specific point and use the bar as a composing tool to find where you want piece to end. That's the tempo. I'm going to be working at 116. Now the problem I have here is it's right at the beginning and I don't have any sort of leeway or lead in of time coming in. What I can do now is I can maybe shift this video, maybe shift it to a bar. So I'm just going to turn on my snapping and snap it to bar two. This time I'll have the hits happening at bar five over here. Now the only thing is if I go to bar two, my frame rates time is different. Now, I want this to be at 0000. What I can do is just right click on a timeline here and say set frames at cursor. And I'm going to set it all the way to 00. That looks great. Now I've got some negative time before. I've just got a bit of space to work into the part. And then I've got the frame rate set at 00. At bar two is where the song comes in, and then at bar five is where I'm going to have that hit. Now we figured out a tempo that we're going to be using and set up where the video is going to be placed and the frame rate. Next, let's jump into creating some ideas for the song. 6. Sketching Out a Motief Idea: Okay, so now that we've got our tempo, we can start coming up with an idea that's going to be the main motif or theme that's going to accompany the video. If I just open up this video and play back with the click, I feel like I want something to descend. And then when it hits over here, it's going to go back to the root of the note. I'm going to pull up an instrument track. I'm just going to load up something very simple, and what works is a piano. Because I find a piano is just a great writing tool to start with, as coming up with ideas for chords, chord progressions, and melodies. I'm going to load up the present studio grand. As a starting point, I think I'm going to work in D minor. I'm going to start with the D, move down to a C, down to a B flat, and then back up to a D. Let's just go back to the beginning. I've got a click that's going to come in. I just want to check, I don't have any pre counts or things set up. I do have a pre count of two. Let's just change that to one. There'll be a one pre count bar then I'll have this bar before. And I'm just going to have a line that's going to go opening up the video. I can choose where I want to place this video, so maybe have it at the top right here so I can still see what's coming in with regards to me and the instrument, but view the player. So here we go. That's going to work. Just maybe quantize everything very nicely and then the only thing I want to change is maybe have a little line. I'm just going to quickly fiddle idea and I'm going to come back and show you what's going to be our starting point. After fiddling around a bit, I've come up with this idea. I've got the same thing. There's a D down to a C and then down to a B flat, and then a D again, But I've added in this extra meddy line over here. That's going to be the rough idea that I'm working with. Now I'm going to show you how you can take a piano idea and sketch it out to other instruments, and then work from that by building up extra layers that accompany the video. Let's take a look at the next video, how we can build up this melody idea that's going to be the main theme for the video. 7. Vertically Expanding the Instrumentation: Now in the last video, I showed you how you could write a rough sketch of the idea that you may want to use for the video. This is going to be your motif or melody that you're going to be using. And I'm going to show you how you can expand this vertically to other tracks to build up the music. Now you can really go in any direction that you want with the music. Maybe you want to go more electronic, maybe you want to go more rock. But what I want to do with this, with this piece, I find that what worked quite well is maybe going for something a bit more orchestral, your cinematic orchestra elements that are using things like strings and stuff like that. So what I'm going to do is I'm going to start building up the strings. And you're going to see by creating extra layers of instruments and taking this idea and transposing it down to other tracks can build up the music instrumentation for you to match the video. Starting off, I'm going to go with the bass and cellos and they're just going to simply follow the line over here where it's going from a D, down to a C, to a B flat, and then back to the root, which is the D. Now, instead of you watching me come up with these parts, I'm going to quickly pull these in so you can see my thought process on this. And I'll show you how this helps with the music and the video. Okay, I've added in my bass and chiller parts. Starting off with the bass, I'm using an instance of presence for the instruments. I've gone down to the strings into the contra base, and I've loaded up the full patch. But all I'm really using is the sustained part of that sound with regards to the articulation. Now let's take a, listen to that base, I'm just going to show you here. So we got the D, we got the C, the B flat, and then there's just an extra A as it jumps back to the D. Just a leading note, back to the D. I've also used slightly differing velocities, just create some interest there as it plays different samples from that. Now with the cellos, I'm just going to select that if you see the cellos is playing the exact same part, just O. This is also using a presence instrument from the cello and using the sustained articulation. Now to count to that and add some extra interest, I want to use some violence, but with the violins I want to use a staccado patch. So something that's playing a lot faster that creates the sort of interest and tension with the music. Let me add those in so you can see what I'm talking about. Okay. I've added in some violence as well as some violence, but I'll get to that in a second. So, I'm just going to mute that, and I'm going to solo the violins. With the violins, I've used the violins full patch, but for the articulations I'm using the staccado patch. So that's like this. What I've also done is, with regards to the pattern, I'm wanting to play a ostinato part, but that's using a different grid. What I'm actually, what I'm actually using is a triplet feel. I've switched the grid over to 16th triplets and you can see that matching up with it. Now I'm just going to minimize that. What I'm also going to do is I'm going to select the cellos and basses, So you can see the relation between the violins and the cellos and the bases. So we've got the bases all the way down here. An octave up higher are the cellos. And then jumping up a full extra octave is this lens part. Nothing really fancy that's happening over there. If you take a look, I'm just jumping between an and a D. I'm just spelling out the third and the roots of the note, and at the end, just doing a little, slight little pegation there, playing them altogether. So let's just minimize that. I'm going to play the base and the cellos together with that so you can hear what's happening. Very nice with something like that, where you've got sustained verse staccato or long notes, short notes that creates a nice piece of tension. And what we want to hear some tension to go with the video. You get that feeling of you don't know what's going on, and it resolves itself when it gets to that hit over here, tension and then release over there. Now, I said I've also added a viol with the violins. When you stack these up on some violins, it can really fill up the sound with the violins. I'm also using a staccato patch. I'm playing something a little bit different here. If I just minimize the view, I've got this part over here. So, let's take a look at this. If I take this with the violence, both of them are playing a pedal tone where they hanging on the D, but with the violins here, I'm doing nothing much. Just going between the first and third, And then the notes over here where with the violas. Let's just go over to the violas over here. Here, I'm starting on the D and I'm doing a escalation of nos, A sharp, and then that's going to be following the base part. If we look here, I've got the base that's dropping down. Where with the violas it's going up. No, take a listen to these with the base and the cellos. Very nice. As you can see, as you start stacking up instruments, you build some more interest, tension, and release. Now finally, I'm going to show you how I add in violins two to create more attention and how we can finish off the piece by adding some tremolo strings. Let me add those last two. Okay, I've added in violins two. This is just going to help me add some extra interest with regards to the violins. Just to recap, this is violins one. Now, with violin two, I'm just going to select that and you can see the play together with these. Maybe to show this a bit more clearly, I'm going to select this and change the color to purple. Okay, Now we can see things clearly. The green is violins one and the purple is violins two. Let me just play back violence two. By itself, it doesn't start right getting it starts after a bar. We've got an opegiation going down in notes. Then I've got an oppegiation with some cords over here. And then that big opegiation weight jumps quite high up. Hearing this with violins one, now you can see there's some notes that might be clashing here. I've got an E, and then I've got an where the F is in the chord, but the isn't. I'm trying to create some extra tension here because with film and video and animation, creating tension really is your key in creating interest in your production. Take a listen back here again, as I play back violin and take a look at violins two, how the interplay of these notes that are creating tension or dissonance. And then the release over here, where it gets more harmony with the notes and then ends off tension and harmony release. And together with the cellos and the bass. The beginning idea here on how you can layer up your instruments and work with the melody and harmony that each are playing, the notes that they're playing to create some interplay with tension and release. Now the last thing to creates some extra tension is I want to add a track that is playing some tremolo. If I go over here or higher up, you can hear the tremolo on the strings. Now that is really just going to create some extra tension if we just hear this with the notes I'm playing. There is I'm playing a G, and I'm playing a D is the fourth degree of the scale, is the root, but the G I've made an octave lower. But what I also want to do is if you look at my automation here, I'm doing a volume rise. I'm going to turn it on and the tension is just going to increase from bar four, bar five, where it sort of finishes off and ends on the root. I'm just going to minimize that because you don't need that. And I'm going to play these all back so you can hear that tremolo that comes in and creates more tension. Sop get some ideas there on high canoes instruments to layer them up and build up to the climax piece that's happening within the video. At least that's what I've done here. I've used different parts and introduced new parts and created some distance and tension. And then when it gets to bar five, that's when it has that hit on the video over there and there's that sort of release where it just goes right back to home, which is the root, which is that's how to build up some instrumentation. Now in the next video, let's start taking a look at some extra layers that we can add ins, create further interest. 8. Adding Layers and Ambience: Okay, I've taken my original piano sketch idea and I've vertically mapped it out to a string section which is some cellos, some basses, some violins and some viols. Now it's all about the music when you're writing to video. What also helps is creating an ambience. And you do this by using specific types of instruments or sound effects to create that feel for the video. Now if I just watch back at this video, I don't want to play anything back. Because I'm just going to meet everything looking at it. Things look very mechanical, phi futuristic. What will go nice is to add an extra layer of something that gives us that feeling. What's quite nice is if I go to my instruments and a mati, there's a really cool preset patch that sounds exactly like something that will be Sapphire. I'm just going to go over here to effects and what I really like is this '60s Saphi, if our player notes creates a very nice soap, I feel to it by not having to do much, I'm just holding down a note and how this patch has been designed with a synthesis, it generates these noises. What I'm going to do is I'm going to have a lead in and I'm going to record at bar to and just lay down one note that's going to lay over this. So hearing that with the other instrumentation, I think I'm going to turn everything back on. I just don't want my original piano idea. I'm just going to pull this down and then say listen. Then just take a listen, and as I play back, I'm going to increase it. That's very subtle, but just by adding it in there. In particular, if I'm watching back in the video, let's just do that again. Just adding in a little element like that is going to spare up the music and just add some ambience that matches with the video, just to make it feel like it fits in a bit more. Let's add some reverb onto it. So I'm just going to go for the room reverb. I'm just going to solo this and add some things in there, increase the length and size. The reverb is just going to feel like it pushes it back in the mix. So here's with no reverb feels quite near the front with some reverb. Pulling up this video without the reverb sounds a bit too dry, but adding it in makes it feel like it's within a space that this could exist in. Okay, so that's how to add a bit of ambulance. I'm using tar to create a spire Sound. Another thing I just want to show you, create some more pace and tension, you can add another instrument that's playing a bit faster. What I want to do is I want to add actually a real instrument in. I want to record a real bass guitar. I'm playing with a pick and I'm going to play a bit faster and it's going to feel like it's pushing the music along more over here. I've added in a bass instrument, Now all my other instruments that I've added in so far have been Miti based, and I've quantized them. Adding in something with a real instrument can add in a bit of a humanized element into the mix. So I've got this bass that sounds pretty much like a rock bass. We're playing a sort of galloping triplet field on that base together with the other instruments. So this is it before, feels a bit empty and now at the base. Okay, so you saw now how you can use some of the instruments, for example the Mata synth. To create some ambience, I used a Safi facture. You could use something like some pads or some drony sounds to create an ambience that will match the video and also how you can pull in real instruments that give a more real filter It, and if you play at a different sort of subdivision, it can create more pace and tension. 9. Adding Hits: Now I just want to shift gears a bit, instead of focusing on the music. Now I want to focus in on some sound design and sound effects for the video. I want to go for the most important part in the video that I see, which is when I get to bar five, there's this hit over here. So just taking back about bar four, just look again. When we reach bar five, they've got this impact and this hits over here. Let's see what we can do. I actually want to use some of the instruments within studio One to get that impact and that hits. And then I'll show you also how we can use some stock sound effects. So starting off, I'm just going to minimize this view here. And I want to go for my instruments. And then under the instruments I want to look for the presence instrument, which is a sample loader. So here's presence. I'm going to add that a very nice thing that you can use for hits and impacts are the percussive kits. I'm going to go down over here to the artist instruments and then drum kits. And then over here we've got these percussion kits. I'm going to select percussion kit two. I've got that hit there on one another. Key that I want to actually use is I want to go for C sharp four. I think what's over here together with the hits, I'm going to add some symbols together with these two. It's going to feel like an impact hits. I'm just going to close this instrument. I'm going to start our click. Maybe I'll move the video player over here. And I'm going to start at bar two, Enable the click. And at bar five, we're going to do this. Hit, there we go. Perfect. I was a bit late there, so I'm going to go into the mini performance, just select everything and shift it to the beginning. Now what really takes us to the next level is to add some processing to this to make it feel a bit less like a drum kit and more like a sound effect. What I'm going to go for next is a room reverb. Just to give a sense of space to this, the room reverb, I'm going to increase the length, the sizes. Well, I think the mix is fine over there. We can leave everything else as it is. I'm just going to Solar that I'm going to call this hits one so we know what it is. I could also go in and change the event name just to help organize everything. Hearing it over here without the reverb and then with the reverb, maybe increase that mix, making a huge difference there. What I'd like to do after this is add some saturation in the form of soft tube saturation. This is a free plug in extension that you can get for studio one. I'm going to set the saturation type and have quite a high saturation on this. Maybe increase a little bit more. So we get that trigger there before we had this. With that hit sounds a bit flat and now with the effects our tails off over there. That's going to be quite nice when we're tailing off to the end. I'm also just going to bring the volume down. I'm going to layer another hit instrument over here. And another percussion kit. I'm going to go back to my browser, pull in another presence. For this presence, I'm going to go back to the artist instruments, the drum kits, and then percussive kit one. Okay. I'm just going to go close that there. I'll label this hit two so we know what we're doing for this. I'm just doing a simple hit on the kick. This is C one, It doesn't sound too amazing now, but let's just record it then and I'll show you how we can add extra processing and really change this up. Here go just go in, correct the quantization. Now to beef this up, I'm going to add some distortion and saturation in the form of the petal board. On this petal board, I want to load up the rat style distortion pedal which is this fats over here. I'm going to increase the distortion, Filter out some of the highs, maybe increase that volume. Very nice with that distortion, with it before, just sounds like a normal kick. But with this sounds more like something a bit more destructive off of this, I want to add a compressor. With this compressor, I want to have quite a high ratio of about 6.91 And then pull this threshold all the way down, we're going to have a shorter attack, because I want this to act very fast. Then probably going to have to need some makeup gain. Let's just take a look what gain reduction is happening and then decide on the makeup gain. Wow, quite a bit there. Let's increase this to about 22 decibels. I like it how Just squashes everything before the comparis. It's a bit too hard, but the squashes it and you still get that sort of artificial tonality of the impact of the drum. Very nice. Then after this in the chain, let's maybe add an instance of the room reverb. Now what you've been seeing me doing is adding an instance of the reverb as an insert effect. I might be used to using a reverb as a send effect and you push all your different tracks to that reverb. But I find I want to use a different type of reverb on each track, and that's why I'm using it as an insert. With this I want a different length to the other in a different size. I like using this room reverb as an insert. It's not very CPU intensive, so you actually can use this as insert effects across all your individual tracks. I think I'll just increase the next bit. Now we got this very nice then with hit one Now, within the context of the video, so I'm just going to wait for that tale to fade out. Jump back to the beginning of the video. Let's play. Very nice. Let's just jump back to bar four and check that out again. Without these hits, you've got that feel of no impact. It's just the Music. That impact really adds to the visual and reinforces what we're seeing and what we're hearing. That's one way to create hits and percussion with some our instruments. Now the next video, let me show you how can enhance this with some stock sound effects. 10. Adding Extra Explosions: Now in this video, let's take a look at how we can add some extra types of sound effects to really add some more realism and enhance that hit. In the previous video, you saw how we used two instruments of presence using the percussive kits. Then we added some extra processing to build up this hit over here at the end at bar five. Now I want to show you how you can add some stock sound effects. What I've got here is a sample of glass that's smashing when there's a crash. And then another one is an automobile explosion. I just want to turn off the processing on this EQ here and show these two samples. I've actually faded out. I can actually drag it out, but I don't need the tail to go for that long. I want this impact to be very short and very sudden. Then this one is an automobile explosion. Now the volume is quite low because you'll find that you don't really need it that light at the moment. It's sitting at about -12 I'm just going to pull it up. That's a bit too much. I'll undo that and bring it down. Then on this crash glass, it's quite nice just to do a bit of a Q boost, where you're boosting the lows for extra impacts. What I've done is I've boosted it over here at about 115 Hertz and then I'm just shelving off some of the highs before the EQ. Very subtle. But there's definitely a boost in that base low end. I could even boost it a bit more. Very nice. Now I'm going to bring these other two hits back in Sounds okay. But you can still hear that. It still sounds like a drum kit. Now, adding in these two extra layers with let's say, real found sounds, these are actual sounds that you would hear in an environment. Very nice. Now let's hear it within the context of the song. I'm actually just going to make this video a bit bigger, so we really get a nice view of this that is at the top here. And then I've got the four hit samples over here, two being instruments and two being audio files. Perfect. So now that we've created the most impact part in our video, which is that hit, let's reverse engineer and go backwards and do some other side effects for some of these other parts. 11. Whoosh Sound Effects with Spotting and Slip Editing: In this video. Let's take it a step further from what we did in the last video. In the video before, I showed you how it creates a hit effect using some instruments and some samples. Now in this video, if you just take a look, we've got a movement here. There's the hits, and then another movement over there. As this little thing here, if you just see little wings close, this thing hits and as it moves back up, I want to sound for that, one of my best tools that I like using when adding sound effects or sound designing to a video are wish effects. Now you can go into any stock audio sample library type wish and find a whole plethora of different types of wish effects. I've built up some of my favorites, I'm going to pull those in, but you'll see how this wish effect, it needs a bit of extra, more processing. But once you add some processing to it, it really adds to the video by giving you that sense of movement. So there's that attachment of when you're listening to it and see it, that it actually correlates and it reinforces the image basically. So I've got two audio files. I'm just going to pull them, they're on my desktop. There's these two wish files here. And I'm just going to drag them somewhere out the way. So I've got two new tracks here and these wih sites. So if I move this over here, extend that back again. I'll play the first wush, nothing too special. And then the next 11, a bit softer one, a bit harder, different tambers. But we're going to stack these up and do processing to them and make them feel like they're fit with the video. I'm also going to show you how to use the Spot feature. When I mean the spot feature, I mean you like select a specific time and then you force an event to move right to that location. Now what I like doing, I'll show you two different methods. First I'll show you the spot and then another one. If I just look at this video, I'm stop at that point where I want that wish effect. Now. I'm just going to change this. I've got this playhead set to return to the last position. I'm going to turn that off. I'm going to play back again. There's the wish there. Let's trust me out here, if I go to this effect, I'm actually just going to close the view for now and just move over to this effect and make them both bit bigger. If you look at this wave form, there's a movement where you've got your peak transient. I'm going to take this start of the event and move it to a location that's now going to be my start of the wish effect. So I'm just going to go here. That's perfect. Now if I scroll back, let's zoom out and find that other location again of where we want this. As those wings touch, that's where I want. What I can do is I can select this event. Then I know that my frame time is this. Now I can go to the Event tab and to Spot, I'm going to change the time base to frames and I can put in that exact time bear. This is four, and then this is a 12. Now watch this event. As I click, okay, it jumps right exactly where I want it now. I can just extend that back over there. Maybe make this video a bit smaller. So we've got the video, and that's up, right? If I play back, I've got that wish that's matching up with the animation, but it's sounding a bit dry. So I'm going to add a room reverb on. For this room reverb, I'll probably leave everything set the same over here. Maybe just increase that mix dabble. I could dive quite deep and get the siler one, but this is just for demonstration purposes. I'm going to keep it quite simple, very nice with that tail, it really does work. The only other thing I'd like to do is just change some of the EQing by filtering out the frequencies with the low cut. I'm just going to cut out anything that may be a bit too low. So anything that's around about 80, 90 hertz I don't need. And the same, I'm going to high cut out anything that is above 4 kilohertz before we had this with the Wish, Something hard. And now with this then hearing it with the music, I'm just going to back off a bit. Very nice. Then back again. Let's go find that point. I'm just going to move this movie here. We've got the hits. When does it move back up again? See that I'm going to do the same thing. I'm going to actually just duplicate this. Hold down optional old, then just drag to where that transient is right over there. We're going to go to that point. I'm going to just look at my frames over here. Go to event, then down to spot type. That time in it is going to be a frames time base. That's going to be seven, that's going to be six. Right there, perfect. And just maybe move it out. Take a listen, it's a bit early so I can just move it in a bit. Sometimes things just need to be replayed a bit in a bit just to make sure that it matches up. Sometimes what you're seeing visually looks right when you add that transient right on there. But when you listen back and look at it afterwards, it might sound bit early. The other thing is I want to add this other wish Sound which is over here. And I want to show you another method that I do. I just take the file, drag it to where it is. I already know what point has which is the transcend here. I can just find where it is, that's exact same point there. You can see these don't match up. What I like to do is just pull in the range or the starts and endpoints of the events, then hold down option and command on a Mac or control an alternate PC. I can actually slip edit this to the exact same point. I'll do the same with this, just drag it here. What you just got to make sure is that if I pull the end all the way to the beginning, I can't actually slip edit it. I just need to minimize the event size and then I can slip edit that to the same position. It's very easy to do. Now on the sound, I think what we need on here is just a room reverb because if you take a listen, it is quite a soft sound. I just wanted to tail off a bit. I'll add a room reverb, maybe pull down the mix because it's quite soft, the length, maybe that can come down to as well. Maybe it's about 1.5 I think I'll keep everything the same now. It's like this. Nice. I might have zoomed out too much. Now let's hear it within the context of the mix. With the video playing, we're just going to keep an eye on these two points. Let's check this out. Over here's the first. Wish. Yes, obviously sounding a bit too loud. I think I just need to drop the level. I'm going to bring up the mix. Where are those two tracks at the end? I think these can come down quite a bit. Might have gone a bit too far there, so I'm going to pull those back up. Just going to tweak them a bit and repeat one more. Maybe just add the softer one a bit higher. Very nice. That's how to use samples, or more specifically, wish samples, find exactly where they line up with the video. Other using spotting or slip editing with the events, and then adding extra processing to them to make them really sit nicely when you hear the music and the sides together with the video. 12. Synthesizing Whoosh Sounds: So in the last video you saw how we could create wish effects using some stock audio samples. Now in this video, I want to show you how you can synthesize a wish or swish sound using the mini synth. Now where we're going to do this, let's first open up the video and play back. I think it's going to be somewhere near the end over here. There's going to be this movement where it goes to the text of the logo and I want to have a sort of a wish effect over there over here. That's what I'm going to do. So let's first decide where that's going to start. We go here, I think somewhere around here it's going to be moving up, he me somewhere there. Now, I'm just going to close this video for now. We'll come back to it and I want to add an instance of my tire and we're just using the stock devolpatch that comes up. Now I'm going to show you how you can create a wish side. What we're going to be using is noise. So if you've got something like a white noise sample or an instrument that can do noise, When you increase the level of this noise, it creates this full frequency spectrum. And these sound great when you use filters or cutoffs to automate that out to create a sort of wishing effect. What I'm going to do is oscillator one, I'm turning all the way down, oscillator two, I'm going to turn all the way down. Or maybe I'll just add a slight bit of the level on oscillator two. Then what I want to do is increase this noise all the way. And the level all the way we got is this. But when I open up the filter, I actually want less of oscillator two we got, there is no I can increase that drive, that colors a little bit. I actually don't want any drive, I don't want to saturate that sound. I can add small punch though, and some resonance on the reverb side. I can increase the reverb sound so the size can be bigger. And with that mix I can put up nearly all the way to 100% Then with the delays, I want to filter out the delay so it's only in a specific area. I'm going to use quarter note delays, then I'm going to increase the mix. The last piece of the puzzle is to take this all going to sink it and move it all the way to 4 bars. So it's a very slow running oscillator. And the individual steps or delay tempo, I'm going to set this very small 16th note triplets. That's basically what we're going to do. We're going to find out where we want the highest points in the cutoff, and then automate that down. What I'm going to do is click on this and say automation. This creates an automation lane for me. We've got our cursor set where we want. I can make this bigger, so what we can do is create a note point there. So I've got a note point and then I want to find out where it ends. It's moving up there, and that's where it's going to end. Then we can pull that down. We've got something like this, but can you see what is happening? I haven't actually recorded a note yet. I'm going to get my paint tool, turn off the automation, draw in an advance. Go back to the automation. Just check that's within the advance. I'm just going to hold down a note on one over here. I'm going to go a pencil tool. Yeah, that's okay. But I think I can change the shape of that automation. So what we can do is make it come down a little faster, starting a bit early. Let's see, maybe I did that a bit early. That's where we're going to start, change that point. Let's see if we need to change automation. Yeah, let me do that. It still feels like it needs to be faster and sooner to turn off snapping. So I get finer chuning, drag it in. May we drag that a bit longer? It feels like this needs to go down fast where this doesn't, we've got that bezled curve over there. It can end actually sooner. What I need to do, I need to take this automation I need to do is take that notes. Change there, the automation, drag it in. It takes a lot of little steps, but you want it really sound right. I find that still starting a bit early. I'm going to go in here now. Let's take a listen. Sounds good. So that is the synthesized wish side now. I also want it in the beginning. If you take a look over here, I'll just go back to the beginning of my video there where we've got the wishing sounds. From there, all I'm going to do is take this, copy it here, and tweak some of the rovation. I may be one to do the reverse with this. I'm just going to drag this in. Maybe drop it down and increase it up, then it can come back down again. Then what I want to do is create some volume automation. I wanted to start loud when it comes in and then go down. I can actually just go over here on this track editor automation. And we're going to start off high, drag it down then make it go off. That's a bit fast. I'm going to have a longer notes. Lomation can actually take a lot longer. That's actually the volume. The volume can fade out of birds. And then with the cutoff, can tweak this, double checking this, I think maybe the volume can rise up. And so it, that volume of Stephanie jumping up too much, maybe putting it over here, I think that's going to work perfect. Now going back, I think that the level for this could be higher and for this actually be lower, maybe a bit lighter. It's a bit soft hair. There we go. That's how to use synthesized wish and swish sounds. And all I did was use an instance of Ita and I increased the noise. I didn't really need oscillates one or two. You can reintroduce these, but the key thing is that filter where you're doing a K filter sweep to create that wish and swish. So also the Lipo works out quite well. You've got your delay and reverb effects and with the Lip creating some modulation, you really get an interesting sound. 13. Adding 2nd Video to Video Global Track: I want to add another video track to my global video track over here. And I want to show you how I can work between two videos. For example, using different music and transitioning from one to the other. I've got this extra video file over here. I'm just going to drag it in so you can see when you add another video file into your video track over here, it adds it and you can move it around and you can do any editing as well that you want. You can change where the start and end points are and things like that. I'm just going to leave the video where it is. I've got this video over here that ends before bar eight. Basically, I want to add my new video over here on bar eight. So I'm just going to set the snapping and drag it over here. If I just mute everything, I'm just going to meet everything here so we don't hear everything. Open the video track, I'm going to play this, I've got the end there, a little gap. Then it kicks in with this new video over here. It's just a very slow moving, a landscape view of the clouds that plays through. It ends over there. Compared to the original video, which is very mechanical. Just very natural and slow paced. I want to mimic this with the audio. What I want to do is with the tempo, I want to change the tempo to a slower tempo. I know at bar eight I've got some music in mind and this music is going to be at 80 BPM. I'm just going to click over there, create that new node point and change this to 80. I've got this drastic change in a tempo. If I'm just playing back here with a click, there's a much slower tempo and I've got some music that I've already composed that I want to add in. So I just want to show you where we going and then show you how we can build up to that. I'm going to pull these new tracks in here is the new music idea that I want to use for this landscape portion over here. I'm going to start off by showing you the piano theme. Going to bar eight, it sounds like this, very simple. If I just open up the mid, you can see my notes over here. I've just got this descending baseline and I've D mine over here. Just playing the triads with some extra notes. Just going over the roots for the first. Music over here we went to D, then then flat back to D. Here we've got a very similar feel. It's starting off with D into, into B flat and then hanging on the G. I'm just playing some extra triads. So it's like very simple, following the same chord progression, just simply ending differently, ending on the fifth as opposed to going back to the root. So just creating that suspense as we end off there. That is just a piano part. And just to make it match up with the visual, I've added some reverb just to make it feel a bit more airy going with that landscape view. Now on top of this, what I've added is a piano repeat. If we just go back to the initial idea of the theme that I had, If you go here, I didn't really incorporate that, even though it was in my initial idea, but what I've decided to do is incorporated into this piano part. I've got this piano repeat that's playing those notes. It's playing it on top of the chord progression. Then with those notes, I've just added some delay and some reverb. We've got these delay settings over here with quite a bit more feedback than usual. And then a long reverb with that, it's going to give that airy and spacy feel to match up with visual. Just to reinforce that by adding some extra layers, I've added a pad underneath. And this is just using an instance of my tire with the dark pad you add in the piano. And that repeats. I'm keeping it very simple. It's just this very simple chord progression and I feel that this matches up with the visual. That needs something a bit more down tempo. Now what I want to show you is how you can go from this initial fast section. I'm unmet everything, play back. So how can we make that transition a lot smoother? We're going from a fasted tempo to a slow tempo. There's also a change in visuals. So we've got the visual over here. There's a bit of black space in between, and it kicks in here. In the next video, I'm going to show you some techniques that you can use to transition from one video to the next. That's using different music at different tempos. 14. Transitioning to Cue Change: In the last video, I showed you how we could add a second video to the video track, or the global video track, and then change the tempo. So we're working with two different tempos with the music. Now in this video, I want to show you how you can smoothly transition from the one video to the next. We've got different tempos. First off, if you're looking at the tempo track over here, we've got a drastic change going from 116, 80. And obviously if we expand this, that looks crazy. What I want to do is a slight tempo deceleration from bar six. I've actually got hit at bar five over here, and then that just tails of where we hold that sustained cord from bar six. I want to add another note point there and I just want to create a deceleration on the tempo if we must everything and then just play back the click track from here you can see how that's decreasing over the length of 2 bars and we get to 80, we got our deceleration in tempo. Next what I want to show you is how you can create a smoother transition by going from one scene with different music to another. Two techniques that I like to use are sounds that are reversed, going into a held note that matches the roots going into here, and other things like swells and things like that that can smooth out the transition. First off, this music is mainly piano driven. What I want to do is take this piano track that's over here, and I'm going to duplicate it. So I'm going duplicate it complete with Tol, Midi Region, And the instrument. Then what I want to do is go in and just remove notes I don't need, I just want the root, just these octave Ds. Then what I want to do is just remove any effects. We've got this. I'm going to actually extend these notes out a bit more. Maybe all the way to bar 11. Over here we got 3 bars. Then what I want to do is convert this to an audio track. I can write, click on it, go to events and say bounce to new track. This is going to convert it to an audio file. For me, I've got this piano part over here. I'm just going to call it piano audio. Now, I'm going to change that as well. What I want to do next is duplicate this part over here. I'm just going to right click on it, go to Audio and choose reverse audio. Or I can use the shortcut command R or control. I'm just going to shorten this end over here. And what we've got is this. What works nice is a reverse going straight into this piano section here, which is that held notes. I just got to match them up a bit nicely. If I go here and play back that little gap, what we can do is just shorten this bit over here. Can maybe create a slight cross fade. I'm going to just drag it slightly over and press X. Got a cross fade here that's much smoother. Then I'm going to add some reverb and stuff again. Back to it. If you look here, I've got a reverb. I'm going to copy across that reverb. I'm going to go back to my mix console. I don't need to see these, I'll just minimize that. I'm going to copy the silver here and turn it on and see what it sounds like. I actually want a bit more reverb. I'm going to go in there and adjust the length, and the global mix just feels like it tails off a bit more. And what I find works pretty well is to add a heavy compression setting after this. It just clamps down and doesn't make it so dynamic. So I'm going to pull the threshold all the way down. Have a very short attack and release and a high ratio, okay? I'm going to pull down at the shoulder and just just ratio because it feels like it's compressing a bit too much now. That feels good listening to this piano now, and the repeat and the pad without this reversed piano over here just comes in quite straight, hard. But if we add in that reverse, maybe just make this more clear. I'm going to call this reversed piano. It feels really nice. And just to neaten things up, I'm just going to add some fades here, just so it's a bit more subtle. Now that's one thing that I like doing. I just find what the principal instrument is that it's going to be going into for that song. Take that, convert it to audio, find out what the root note is that it's playing, and then reverse that and have this two events here where the reverse part goes into a crescendo into that downbeat on the root notes. Now another thing I also like doing is using signs that have swells in them, and a great example is a crash swell. Here is a crash swell sample that I've pulled in. I've also added this to the resource file so you can use it as well. And it's simple, it's just really this. Now, that's quite a big sound. But if you pull that down and blend it in with everything else, it sounds quite nice. I'm going to actually just get rid of this track. I don't need this anymore. Just bring in everything else that I've got with this. Music Now, another important thing to do is to take this crash well and make sure that the transient is matching up with the bar as you can see here. That is a transient there. I'm just going to slip edit this a bit more and that should be good. So before without the reverse sin and crash, well it's very hard in now with this that crash swell can come down slightly. And now the big test is to show you what it sounds like with this Music Before, with the first video going into the second video, maybe to demonstrate it first I'm going, I'm going to meet the crash swell in the reverse. And just play back with the video showing it a bit bigger so we can see what's happening. And just keep an eye on the timeline here when things change. Okay, that's okay. But now it's adding the traverse and a crash swell. See that really works great. So that's how to go from one video to the next where there may be a change in tempo. Most probably definitely a change in tempo. It could even be a change in key and music, but using things like reverse sounds and sounds that swell up will help the transition from one scene to the next. 15. CORRECTION for 2nd Video: Now I did make a mistake in a previous video where I added the second video and then changed the tempo. What happened was when I went to bar five, creates a point and then remove this watch video. Actually jumped away from bar eight. What I had was at bar eight, I had this tempo change from 116 down to 80. What I did was when I click this, it pushed the video forward because time is slowed down to correct the issue. I just took the video and just move it like this to buy it. Now that when the music kicks in, it kicks in exactly where that video is. Just bear in mind when you do some tempo changes and then decelerate or accelerate the tempo that you're not moving where you wanted this video to be placed. Now there's another option where you can right click on the video and say time lock. Now what that means is that you can't actually move this video, It's actually locked to that exact time. But if you decelerate the tempo, it's still going to change the location. Just bear this in mind. For example, I wanted it on bar eight, so I could have a musical point where I could kick in this. Music If you do have your video time lock, just right click and untick that and then move it so that it fits into a musical area where you can write music. That's why like having two time lines here where I can view the bars and then I can view the time frame rates. Just bear this in mind going forward from the feature videos then. I actually wanted the second video at bar eight, not a bit before when you did the deceleration. 16. Adding Extra Layers and Making Edits: In the last video I showed you how I could do some transition sounds going from one video to the next. For example, like a Q change. But now watching back, I think we just need to do some adjustments to the edit and make sure it feels more smooth. What I want to do is add something to this video that will help reinforce the video like you saw with this one over here. It was very mechanical sounding and we added in a Sipi sound. Now I want to do something the same for this over here. Now I've got a track that is an instance of Matar that uses a preset that's got a '80s feel for it, that will work very nicely with the rest of the instrumentation over here. The idea that I'm getting from this is you've got the mechanical instruments or device and it goes into the cloudy, sunset landscape and it feels like we're on another planet. I've opted for going for a preset that has a space feel. I've just played a very simple line over here that goes like this. What I like about this patch is it's got some modulation with a phaser and heavy delay in reverb that's warbly effect to it. Just as I stop playback, the pitch changes over there. Just by adding this in with the other instruments, it's going to match very nicely with the scene. It's increase the volume, you hear it and when you stop play back, you hear that pitch modulation. I'm pretty happy with this music here now. I just want to take one more browse through with the video and just make sure things aren't popping out too much off the bat. I feel that this It instrument can come down on this first section. What we basically doing here is just adjustments to the overall mix and making sure that it feels like everything is fitting. I'm going to drag that down, those wishes to me and my ear are feeling weighty loud, so I'm going to do some volume automation also Pretty loud here. I could probably go back into the track, but I feel that each one is probably going to need a slightly different volume change. And so I feel that this sound is tailing off too much. I don't want it to be coming in over the section over here. I'm also going to do a volume adjustment there. It's a bit short. So we can drag this in, pull this out. What I'm noticing is actually this note is too short, so I'm going to drag that out. And then we're going to take a listen again. See you see what's happened, coming back up there. So let's just bring this all the way down. I'm actually very happy with everything. I think everything is sounding greats. We've got all our tracks that nothing's jumping out too much. The sound effects are at the right level where they match with the video. They're not too buried in the music. The music, going from one video to the next feels quite seamless, even though there's a change in tempo and it doesn't seem like there's too much changes in volume overall. I think everything's working pretty well with these two videos now. And the music and sound design for it to finish off for the next video, let me show you how we can export out our video. 17. Exporting out your Video: Once you're happy with the music and sounds and beds that you've added to the video, you can export out your video with the music and sound embedded in it. To do that, you just go to the song menu and then you've got this option here, Export video. You've got a few options. First off, you can set the location. So I'm going to export it out to my desktop. I can give the video a name. Let's just call it on track Intro because it looks like a bit of a logo build intro video. I know we've used two different stock videos and things like that, but let's just give it that file name. Then. With the video format, you can choose either a quick time video, Mpeg four, or an M4v video. I'm going to go for an Mpeg four video, and it's setting the codec at H 264 and the audio at AAC. This is using the source codes from the video that I pulled in. If I don't want to use these, I can untick these and make changes, use other video codec options and other audio options, but I'm going to stick with the source codecs. Then over here, this is the important section. This is what you want to set your export range to. It can be all videos, so that is going to include both videos. If I choose just this, it's only going to export out that video, and then with this it's only going to export out that portion of the video. I've got other options that I preferably want to use. I can do between loop between song starts and markers. If I had some markers I could set them up, it would be between that and I could also choose here where these are markers that I've made. And choose that duration. I'm going to click out of here for now. But what I want to do is create a loop section. I've got a loop section from bar two to bar 14. I've extended the site because I've got these sounds at tail off over here. I'm going to go back to export video. Let's just select between loop. That's what we're going for between loop, showing me the duration is 31 seconds. Then these options are like your standard options when you export out your song from studio one. Now I'm going to click okay and it's going to render out the audio to the video. Then it's going to write the video file. It's rendered out the audio, and now it's going to mix the audio with the video. When the export is complete, I can test it out and see if it's working. I've got the video here on my desktop. I'm just going to open it up in a video player. I'm going to choose VLC. And just check that everything's working, everything's synking up correctly. I just want to see this transition here. While watching the video, I did notice a mistake that I did on my side. So I've got the music starting at bar eight, but I've got my video starting earlier. So what I'm actually going to do is just take this video and pull it into bar eight over here. So that was an area that I picked up on the export. I need my video at bar eight. So there we go. It's at bar eight. I've got the music here and I'm going to re export this out and check that everything works. So I'm going to go a song export out video. This time I'm going to choose a quick time video format. I'm going to my desktop and I'm just going to give it a different name so I can check that everything works. This is going to be between the same loop locators and I'm going to export that out. That export has been completed. And I can check if that fixed that error. Here is my second export that I did. I'm going to open this up in VLC. Let's check everything. That's all working fine. Now let's check if that music sounds correctly here, much better. That is, how to export out your video for your song like you saw here. We've got two different videos. We've got two different music beds over here. And by going to the song menu and exporting out the video, I can choose which video I want to export out. Or I can set the range where over here I set the range with a loop marker covering both the first and the second video, and then export out the video. 18. Conclusion: That covers it for this class. Thanks so much for watching all the way to the end. I hope you enjoyed it. And you found out some interesting things that you can do with Studio One. And when working to video and film, it's a very interesting medium to work with because you work in different ways than you usually do. You got this video that you're watching and you're thinking of ideas of audio that will go with it or sync with it. I hope that you've learned some interesting things in this class and next, jump in and start seeing how you can work with video and film in studio one with your audio.