Transcripts
1. Introduction: Audio is such a big part of the human sense experience
and it's a big part of adding more senses to
your video projects to really touch on
different emotions that you couldn't touch
on with just video. What is my name
is Marcel Ptillo, and today's class is all about Fair Light within
Venture Resolve. Fair Light is a full
digital audio workstation that is actually built in
to Venture Resolve itself. I actually started
my professional career in music production. So this part of the process
feels very at home for me. Once I started scoring
music for video, I quickly fell in love with
the video production process. And it felt like a way
for me to keep creating, but on a much bigger scale than just creating
one song at a time. At this point, I consider myself much more of a filmmaker, but it's so helpful to have
that knowledge of mixing audio and knowing tools
like how a compressor works or how a Q works to
really bring my videos to life. So again, this class is
all about fair light. My favorite tools and techniques to make sure that
my audio is clear, level, and sonically
compelling to the viewer. I'll go over how Q works and some very powerful
ways to use it. I'll also go over compression. What compression is
and how do you use it to bring fullness and
leveling to your audio. My hope for this class is that you take away an
understanding for how powerful fair
light you result and also how important audio
is for your videos. Hopefully by the
end, you'll have a better understanding of how the UI and Fair Light works and how better to implement
audio into your videos. So welcome to my
class on Fair Light. I hope you enjoy it, and
I hope you learn a lot. And I'll see you all
in the next lesson.
2. Getting Started : Again, my name is
Marcel and I love shooting, coloring,
editing, audio, and have a Youtube channel
called The Modern Filmmaker, where I teach my favorite
techniques and get a chance to connect
with some of you great creatives from
around the world. Music production and mixing were my first love in
the creative world. And I've always loved
how a good music bed of voiceover or sound design
can really enhance any film, TV show, or commercial. While today we'll be doing
something fairly simple, the tools that we'll be using and going over are
tools that you will constantly rely on to shape your audio and
enhance your videos. So when it comes to preparing
your workspace and mindset, make sure to have divent
resolved ready, of course. And get into a good creative space where you
feel comfortable. And you'll want to sit for a while and not get distracted. And it's best to use headphones, or you could use speakers. If you're in a
controlled environment where you can really
hear clearly, you're going to want to hear
all the intricate details of the things that will be
going over in this class. In today's project, we'll
be adding voice over dialogue and pasting it to
feel organic within our edit. We'll also be using tools
within fair light to make sure that our voice over sits
well with our music bed, keeping clarity and fullness. One more thing we'll be doing is EQing our music bed
to make sure that both the voiceover
and music have presence without colliding
with each other. So the project that
we'll be working on is a photographer shooting a car with a simple voiceover
underneath to add context. Now if you have
your own material you want to use,
that's totally fine. You can use your own material
and just follow along. Or if you want to use all the material
that we'll be using, you can download that in
the resource tab below. Now remember at the end, to share your project
with everyone else, so we can all see the different
creative choices we made, as well as comment on
each other's work. So we can all grow as
audio editors together. So in this class we'll walk through the power of fair light. So have your assets
and timeline ready. We'll go over the UI and
some really important tools, and you'll learn the power of the mixer effects,
dynamics, and EQ. As always, there's no right or wrong, there's just creativity. So have fun, enjoy the journey. And when you're ready, I'll
see you in the next lesson.
3. Figuring out Fairlight: Welcome to lesson three, The
Importance of fair Light. We'll dig into the UI of
fair light as a whole. The more you
understand fair light, the more that you
can make sure that your audio is as crisp and
buttery as your video is. Bad audio can ruin a good video. If we look over the
UI in fair light, you'll see that over at the
top we have our meters, which is just a
visual representation of where the levels are
for our audio tracks. And if I just go through and you can see that we're
getting one level because that's all we have so far
is just our music bed and it's providing us a
visual representation of where our audio is sitting. That's where you can
see if things are clipping or too loud
or not working at all. And then if we go
over to the left, we have a few things
that are really, really cool to have within a
digital audio workstation. One is the media pool which
I told you you can access at almost any tab,
indiventure resolve. But it's really helpful
to have access to any sound effects or music files or voiceovers you have
right there to the left. And you can easily drag
them into your timeline. From there we have effects. So any effects that
you might want to use. Any built in fair light
effects, any audio transitions, or if you have any
professional VST plugins, you can import those right on a track level or a clip
level, which is sick. I love that because a
lot of programs will just let you use audio effects, especially professional
audio effects like VST's just at
the track level. So the fact that you
can use these on a clip level as well gives you a lot of options to really fine tune and shape
your audio as we come across. The next option we have index, which is just a quick index of the files that you're using
within your timeline. And then we have sound library, if you have any sound
libraries installed. And then from there
we have an ADR tab, which this is really, really cool because
if you want to record a voice over artist at your
studio, at your place, and have them record
straight into your edit, they can do that with fair
light and adventure resolve. Once you set up what track
you want the audio to go on, then you can come
over once you have your input selected and
just start recording, which is really
nice for your voice over artists to be able to come over and kind of share that experience with you while
you build out the edit. And then in the middle, you
just have your timeline. And you can already tell that
the video is a bit shrunken down because they
really want you to focus on the audio
when in fair light. And you'll see here and a bit in a different lesson
that we can jump in between the edit
tab when we want to kind of tweak videos and
then jump back to Fair Light. And that's one
reason I love that Fair light is built in
straight to the program. You don't have to jump
in between programs or save out in one program and then come back
to this program. You can do it all right here. And then in this middle menu, the first thing it starts with
is a track display option. So if you don't even want to
see your video clips at all, you can actually click
off of video tracks. If for instance you have a
bunch of audio tracks and you really don't want the video
tracks taking up that screen, real estate, you can
just turn those off. And that way you'll just get
a good wide representation of the audio that you
have in your project. And then from there you have some other options to maybe just see your track in a
stereo view or mono view. And then next to that you
have some grid options. I'm fine with the grid
that we have here, but it's nice to have it
there in case you want to change how your grid looks
depending on your project. And then moving across,
we have our playheads, we have rewind and fast
forward we have play, we have stop and
record and loop, and then some automation
options as well. Underneath that, we have
our pointer options. We have our regular
pointer select mode, and then we have a trim
range selecting mode, where we can go in and
select a certain range. You can see that right now I
have this green line going all the way across my timeline. This represents what I want
to ventures off to export. And I could use the range mode to select a new range for it to export if I just
wanted to make a quick export for someone to look over
or to check the work. But for now I'm just going to go to the beginning and hit, and then go to the
end and hit O to select our normal wide range
of the entire timeline. And then from there we
have a focus mode and a pencil tool for creating automation and
for writing in automation. Then we have our razor tool
for any cutting wind to do. And then we have
snapping and linking, just like we have
in the edit tab. And then over to the top right, you can see that we
have a preview window. If I go to where we
have some video, you can see that we
can check out all of our video within
that preview window. And we can even click this
floating window button if we want more
screen real estate. If we want to see more of our
video as we edit the audio, we can easily just
bring our display into a floating window if
we want to put this on a second screen or anything
like that to have a bigger, wider
representation video. As we edit the audio, I'm going to go ahead and
dock this window. I like to usually keep it
docked unless I'm working on several screens and I have more screen real
estate to work with. But then over on our right we have a lot of great options. We have our whole mixer, which you can break down or pull back in with this
mixer button at the top. You can also do that
with the meters, or metadata, or inspector. But in the mixer, I love
the fair light mixer. It has so many great
tools built in. Usually in a lot
of other programs you have to bring in effects for compression or
gating or leveling. Venture resolve seems to
have just built in a lot of the Go two options that you'll want to use for
audio right here. The mixer, making it very
easy and quick to work in. So if I go down to
our audio three, we can take a look
at the options within our mixer for this track. If I enable our voice isolation, that's the first option that
you have in our mixer track. If I enable this and then
click our settings tool, this will bring up a
voice isolation tab that's just one singular ****. And this thing is powerful. I know it just looks like
one **** on the screen, but man, if there's traffic
going on in the background, you can easily
squash that by using the voice isolation tool or if you have music going
on in the background. There's been times where
I've had videos with music burned into the video
under the voice. And just by using this
voice isolation tool, it's completely
taken the music out. I don't know what kind
of black magic that black magic design is
using to make that happen. But it's amazing and it shocks
me every time I'm like, how does it do this? So I'm just going to
turn that off for now. And then the next option we
have is a dialogue leveler. Me personally, go ahead and open this so you can
see what it looks like. But me personally, I love to use the compressor to
level my dialogue. It just gives us a
little bit more control. But I definitely encourage
you to play around with this in different
scenarios so you can see what works best for the project that you're
working on at the time. Next you have order of effects. This is pretty much
a representation of which effect do you
want to come first. And right now, it's set up so that the effects come first, then the dynamics come after
that, and then the EQ. Me, personally, I like the audio to be processed
in a certain way. Usually in the EQ, I'll either duck frequencies or
enhanced frequencies. Then I like it to
compress in the dynamics. And then from there I like it to use any effects
that I want to apply, like a reverb or any
pitch shifting or any kind of weird
effect I want to add to my sound effects
or voice over. I'm going to go with EQ
dynamic then effects. Then underneath that you have an window where you can add any effects that you want to use on that certain track. And fairlight uses,
like I said before, some built in stock fair
light effect plug ins. But it also can use some really awesome professional VST
plugins if you own any. Me personally, I love this
because I do have a lot of VST plugins like Nectar Three, which is a vocal plug
in made just for vocals by a great
company called Isotope. Highly Recommend. It's got some great presets in here for dialogue that
you can easily and quickly go to to enhance the fullness and clarity of any voice
over that you have. But from here I'm
just going to go ahead and delete that plug in. And you can disable and
delete plug ins from this window as well and
you can just stack them. And stack them. And stack them. There's really an endless
amount of things you can do in this just Effects tab to
enhance and shape your audio. And then underneath
Effects you have dynamics within the dynamics. Some really great tools that I love to use is the noise gate, which cuts out sounds in
between a certain volume range. And then you have compressor, which will squash your audio
to be a bit more level. You have a limitter as well
to make sure that the audio does not go past a certain point to keep your audio from peaking. Then you also have
some little presets in here as well that are
easy and fun to use. Now if you find yourself
using the dynamics in a way where you always go to
these certain parameters, work really well for your
situation that you're in. You can save that and
make your own preset with this add preset button. Next, after dynamics,
you have your EQ, which will get into
in a future lesson. But the EQ will help either enhance or pull down
certain frequencies because sometimes you may have a weird frequency
like a hum from an air conditioner going
around in the background and you could pull that
down in the low midtones. Or if you just want to
add some more clarity to the highs of your voice over, you can do that with
the higher frequencies. Or if you want to add more
base to your music track, you can also do that in the EQ. It as well has
presets, but again, you can make your
own if there are certain ways that you
always find yourself qing, you can easily save
those and keep moving. Then under that you
have your panning. Panning in resolve
is fairly simple, especially when you're
just in a stereo setting. But when you get into maybe
some surround sound like five to 17 to 110
to one Adb Atmos. This can be really cool because you can play certain sounds or certain tracks around the room to engulf your viewer in sound. Let me reset that
and close down. And then under that
you have your Buses. And then you have your fader, which just controls the
volume level of your track. Here you can arm your record, you have soloing, and you
have muting of tracks. And that pretty much is a
general overview of the UI. In fair light, I highly
suggest poking around, seeing what the
different windows do on your own so you can get a very familiar
understanding of fair light. Because like I said
before, bad audio can ruin your video. So you don't want to have this
weird fair light tab that you're kind of afraid to go to because you don't
know it that well. You want to be a
place that you feel comfortable that way
when the need be. You can jump over to fair
light and make sure again, that your audio is as crisp
and buttery as your video is. So again, make sure
to poke around in fair light on your own to really familiarize
yourself with the UI, because sound is so important and I cannot emphasize
that enough. And when you feel ready,
jump over to the next lesson where we'll be
implementing our voice over. See you all there.
4. Implementing Voiceover: Welcome to lesson
four. We'll implement our video into our edit
and we'll paste it in a way where it feels a
little bit more organic with the tempo and the speed of
the edit that we have so far. Now your edit may look a little different than mine,
which is totally fine. Just kind of feel it out and try to create something
a little bit new. You think outside the box
and just kind of follow along with the
techniques that I'm using to kind of
create your own thing. So now it's time to
throw on the headphones. And the first thing we
will do is jump back into our edit tab so we can bring
in our voice over video. Because I actually got a little bit more than just the audio. I went ahead and filmed
him saying these words just in case we wanted to cut him talking at any
point in time, which we will later on in the
edit, at least in my edit. So if I go into footage and
then come down to our voice over which is 77, we
can play this back. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I love cars because
they look good. Sound Good. And you can always catch
them in a good angle. Boom. And from that
moment we'll hit, because that's the end
of his speaking portion. And because we're not
using the video for this, I'm actually not
going to include all this fancy stuff that
I did with the gimble. We're just going to scrub
through until you start speaking, and then I'll hit Y. And my name is Bronson Claflin. I'm a Nashville
car photographer. I love cars because
they look good. Sound Good and you can always
catch them in a good angle. Great. So I could just bring in the audio,
but just in case, let's bring in the whole
thing because we have it and we have a track
available here on the bottom. Let me go through the beginning
of the edit and we'll kind of find a good place
to place his voice over. You know what, I'm going
to do it the second time he comes on the screen, he comes on once as he
walks into the video. And then we go close
up on the car bumper. And then we go back to Bronson, and that's where he
will introduce himself. That just feels like a
good, natural place. Maybe I'll screw
this back to here. Right now his audio
is very quiet, so we'll want to
bring that volume up. And there's an easy
way to do this that's scientifically correct and that is by normalizing our audio. If we right click on
this track and then come up to normalize
audio levels, I like my parameters to
be at minus two and -14 and the setting to be
at the TR Bs 17 74. For me, I know that
TV and film used to normalize at a
standard of -23 LKFS. But Youtube and
Instagram and a lot of the newer streaming
platforms actually use -14 So by just
pressing Normalize, it'll normalize to
a louder standard, but that's not too loud
to where it's clipping. And now we can play this back. Hi, my name is Bronson Claflin. I'm a Nhville car photographer. I love cars because
they look good. Sound Good voice catch, love it, that's great. Now of course, we'll
do some things in the future lessons to make sure that that voice
stands out above the music. But for now, we just
want to kind of lay our audio down where we feel
like it feels the best. And so one thing I'm
going to do is actually cut up this audio a little bit, because right now it feels good. But we can kind of take the
same phrase and stack it out among a longer
portion of time to where it'll feel
a little bit more organic with the edit
that we have here. Starting at his first phrase. My name is Bronson. If
I just mute the music. Hi, my name is Bronson, Claflin. I'm a Nashville
car photographer. I love cars because
they look good. Sound good, and you can always catch them
in a good angle. I'm going to stop
at, they look good. My name is Bronson Claflin. I'm a Nashville
car photographer. I love cars because
they look good. And then I'll try to get
right where he starts. Sound Good, because
he almost runs. Look good. Sound Good together. And again, I'll use my
left and right arrows on the keyboard to skip
frame by frame and really listen for where
that comes in and sounds good right there. I hit B for our blade, We can cut there
and then go back to our normal selector tool with
A and then scoot this over. There is a clip down here that I used of the back bumper
and the muffler. It only makes sense to point out that it sounds good when
you see the muffler. And so I'll just slide
this around here, we can turn our music track back on and take a look and listen
to where we have things at. The My name Bronx Claplan. I'm a Nationale
car photographer. I love cars because
they look good. Sound Good there. Yeah. I love cars
because they look good. I'm a Nasville car photographer. I love cars because
they look good. I'm just kind of
feeling this out as we go and I would like. There to be a little
less space here. And I would love to scoot
over where he says, I love cars because
they look good. To this section here where he is walking around
admiring the car, It just has a little
bit more presence and a little bit more purpose
at that point in the edit. So if I come back and mute
our music track so I can hear where to cut here and
go to the end or middle. This, I'm a Nashville
car photographer. And then I'll try
to cut in between photographer and when
he says I love cars, just any of the dead space
here is a great place to cut. And I'll hit B and cut
with the blade there. And then slide this over to maybe where you
see this back tail light. But let's listen back and
feel out The pacing here. I'm BronlaplI'masville
car photographer. For some reason it
just feels right If I were to have him
come in with this, I love cars Right before
you see the tail light, right before you start
to see the detail. And then it'll go to
him admiring the car, which to me makes
a lot of sense. So let's try this again.
I'm name Bron Clap. I'm a Nashville
car photographer. I love cars because
they look good. Yeah, that's nice. And one thing that this is prompting me to do is I could switch out two of these clips
because I don't want all this dead space
in the voice over. But I do want him to say
that they sound good over the portion where he sees the
muffler in every project. You may not be able to do this, but because in this
class there is no rules, and we're really here
just to be creative. We can scoot these
around however we want, especially as we progress through our edit and learn more. One thing we'll just
do is just move these where each other are. I'll move this last clip
of the bumper right where that clip starts of the rear view mirror
or side view mirror. And I'll take the side
view mirror clip and move this to where our other
clip had started. That way we know that
we're staying on beat because we
edited to the beat. And we know that things will work just the same as
we make that swap. Now I can scoot our
VO back to, he says. Sound good. Let's listen
back to this to make sure that it flows in a way
that I'm Broner Claflin. I'm a Nationale
car photographer. I love cars because they
look good. Sound Good. Yeah, Then I'm actually going to cut next phrase
where he says, you can always catch
them at a good angle. So I'll go down here and I'll
mute our music track again, just so we can hear
this vocal audio sound good and you can
always sound good. And this is going to be tough because he really runs
those two phrases. It's like a run on. They sound good and you can always
catch him at a good angle. We'll have to do a
little finessing there to make sure that our vio sounds natural as we cut in between something
that flows together. Again, we'll have to
use the right and left arrow keys to go frame by frame to hear where the inflection changes
from good to end. I think about right there, I'm hearing it go from
a good to an end. Of course, like I've said in other classes, the
more you do this, the more familiar you get at these little tiny sounds to where you'll get really
fast at telling like, okay, that's where the
word changes right there. Yeah, right there. And then I'll scoot this down to where he's filming the car, he says, and you can always
find a good angle right here, he's finding a good angle. So we'll go ahead and scoot
this down to that clip. Let's listen back, hear that sounds feel how
it's pasted out. I'll turn my music track back on and here I'm
name Bruns Lapland. I'm a national car photographer. I love cars because they
look good. Sound Good. You know what? I'll pull this
back because I don't like the dead space as
much. Sounds good. Yeah, and it still has the same feel because this
is such an angular shot, coming off the side view mirror into this fender flare here. And then it shows him
almost getting that shot. When you know, this
is a little bit of movie magic because
in all honesty, I got this shot and I don't even know what
shot he was getting. But it looks like he is taking the shot that we
just saw beforehand. And so now we can go through and we can actually
normalize these one by one just to make
sure that they are actually as loud as they
can be without clipping. So I'm going to normalize on our second audio pass.
It's going to normalize. And I did see that it
brought it up slightly. If I go over to audio
under our inspector, we can see the volume
of this track. And what the
normalizer has done is brought up the
volume to where it thinks is appropriate based on the limits that
we had set in place. If we go to our first
clip, we can see that it's at 27.30 and it just raised our second clip up to 28.9 We'll do this for
our next clip as well. So we'll right click and
go to normalized audio. Boom. And then in
our fourth clip, right click normalized audio. It may have just made
slight adjustments there, but those will really
help us as we go forward into equalizing and
compression in later lessons. There's only one last
thing that we need to add, and that is the
ending that I had in place that would be down. It might be our last, very
last take where he says that, I'm Bronson, find what you love, Pursue it hard, keep love that. That's a great line going on. I'm going to choose this
section of the clip here. I'm going to hit, I
find what you love, Pursue it hard, keep Cd. And now I'll pull this
video in. I think maybe, yeah, about right here, but I want on this shot for
his voice to start. So we'll go ahead and normalize, so we can see what
we're doing again, right clicking on this clip. Going to normalize.
Hit Normalize, and then we will scoot
this back to here. Find what you love,
Pursue it hard, keep creating, love it. So the last thing we'll
need to do here is just stabilize this last clip because it's a little shaky. So of course, under
stabilization with perspective on we'll hit stabilize. Love that. And now we have implemented
our voice over into our edit in a way
that it feels really good and let's watch
it back one more time. My name Bronx Claflin. I'm a national car photographer. I love cars because
they look good. Sound Good. Always. So now that we have our voice over sitting into our
edit really well, it feels like the pasting is really good and it's
really organic. It feels like he recorded it, speaking it this way,
and that's awesome. That's exactly what
you're looking for. Because you don't want
to distract people with things that might feel off. You don't want the
viewer to feel like they can hear or
see the production. You kind of just
want to get lost in the visuals and in the sound
and so now play around with your own to kind of find out any new things that you
might be able to do that I didn't do here
with the voice over. One thing that's cool that
you can do is swap things around and maybe you'll stumble across something that I didn't, that you actually really, really like play around with that. And when you feel ready, we'll
jump into the next lesson, which will be going
over the equalizer. And that'll allow
us to fine tune our frequencies to really get that perfect sound that you feel in film and TV. I'll
see you all there.
5. Align Your Audio and Video: Pulling over some creative
decisions made here. I actually had Dronson record
several speaking parts. And if you download the material
that we have available, you'll actually see
he says a lot more than I'm actually
implementing into the video, but I just wanted
to implement enough to where you
understand this guy, this photographer, and what his passion is, which is cars. And you kind of feel his purpose and passion for what he does. I didn't want too
many words to be in there because
sometimes, you know, you can almost add too
much and it almost takes away from the impact
of what could be said. So I just wanted to be enough
to where it had an impact, but the edit really
stood out and the car really stood out and his professionalism
really stood out. So if we play this back, let's say without the
voice over at all, you know, it's still cool. Especially with, you
know, no extra lighting, no crew, just a couple of guys running
around with cameras. It still ended up pretty great, but if we go back and kind of take it on with
the voiceover, you know, it's really
nice to kind of hear his passion behind some of
the things that he's doing. Especially when he comes back into the frame in
that third clip. And the voiceover
comes in with him kind of introducing himself to the audience, to the
viewer, you know, those kind of things are
really important because you want to put a face to a
name, we all kind of do. And if you just see a guy, then you're like, oh great,
it's a photographer. But just by going through some snippets of him
talking about his name, what he does, where he lives, what he likes about cars,
why he shoots cars. You kind of feel like by
the end of the video, you really get to know the guy. And he's more than just
the guy on the screen. He is now Bronson,
the car photographer from Nashville that
loves the lines, and the sounds, and the looks. So let's play this back just
from when he first enters the frame and that first
voice over starts my name, Roni Claplan, My Nasville
car photography. And another thing I love to do is when someone
introduces himself, kind of showing them
looking their coolest. Because, you know,
that's our job as either audio editors
or video editors. I always say that a bad edit can make a great
performance look terrible. So by him introducing himself and throwing
in clips of, you know, little kind of cheesy
things like him running his hand through his hair
and then showing a cool rim. And then him kind of
walking around the car, almost like this dominance. He feels comfortable,
he's chilling, he's cool, he's relaxed,
he's just doing his thing. It really kind of makes his name and his title as
car photographer really stand out and love
cars because they look good. They love cars because
they look good. And so in those moments
too, of him saying, because I love cars, because they look good, that's a chance for you to
make the car look cool. Just like when he
introduced himself. I'm Ronson, the car
photographer from Nashville. In this section, you know, this is a chance
to really kind of pull on emotional strings of a viewer that loves cars as well by accentuating how
cool this car looks. I love cars because they
look good. Sound Good. Yeah, I love that.
Because you want to use every chance you can
to pull heartstrings. And by pulling heart strings, I don't mean like
make people cry, but just kind of tap
into what they like. You may have someone in the
audience that loves BMW, or you may have someone
in the audience that just loves cars in general. Or you may have someone
in the audience that just loves a nice, clean, clear shot. And so you kind of want
to touch on that as you mix in voiceovers with
the video itself. I love cars because
they look good. I love that shot too of just this low almost hero
angle of the car just sitting there with that
great lowered stance with just the wheels really
filling the wheel wells. Car guys are gonna
love that shot and they're totally going to connect
with Bronson as he says, I love cars because
they look good. Because that generally is a big part of why a lot
of people do love cars. Good. Sound good? Like I said before, you know, us kind of showing the exhaust almost makes up for the fact
that we don't have the car, you know, sitting there
revving up, boom, boom, boom. We can kind of show
the fine detail of this carbon fiber rear
diffuser sitting right over that dual exhaust
to really emphasize that they do sound good and that it's something that
he loves about the cars. And that's something that
we all think when we see a muffler, especially
on a car like this, we think about that roaring sound that the
muffler is going to make as the car starts up or
drives past you. Sound good. Always catch. And again, kind of touching
on exactly what he says with you can always
catch him at a good angle. Now this in particular too, is a very kind of random thing. I don't think I've ever seen something like
this on a car. A little text bubble coming out of the side view
mirror saying, I love you. But then it's not delivered because this guy
really loves his car. He's not worried about his girl. So it's kind of just
a weird side note, but also the fact that that is sitting there right
in the same kind of line of sight with
this cool fender flare, this wide body fender flare
that also has the venting. That is exactly what he means by you can always catch
him at a good angle. It's that detail, it's
detail with, you know, he's got this custom side mirror with this custom decal on top of the mirror with this custom
wide body fender flare and this custom vent
in the fender flare, that's exactly what
he's talking about. So it's a perfect time
to kind of either have that voice over underneath that clip or to bring
that clip over. That voice over, voice counts. And then lastly, with the end, One thing that I thought
about in this course and making this course is
just inspiring you guys, because in the beginning
things can seem so overwhelming and maybe some of you aren't
in the beginning. But I know when I
was first starting out and first kind of taking my first courses and classes
on videography and editing, it all seemed like, oh my gosh, there's so many tools. And it helped me, you know, it helped me to take
classes from people that were passionate and excited
about the creative process. Because then that got me
excited and excited enough to sit and to poke around and
to prod the program to see, you know, what this
does and what that does and really
familiarize myself. Because a lot of that is
just experience. It's time. So I wanted to inspire you guys and find something
that would inspire. And so even when
working with Bronson, I was like, hey, let's, let's find a phrase that really talks about
the creative process. And that being this
last phrase that would close things out with
find what you love, pursue it hard, keep creating. All those things are true. Find what you love in the
video production process, whether that be
shooting, editing, audio, color, VFX, whatever
you love the most. Wherever you feel
your passions are leading into go there. And as they say, if
you do what you love, you never work a day in
your life because you're doing what you love and
you're not really working, you're just enjoying yourself. So again, find what you love, pursue it hard,
and keep creating. So now that we have
the voice over implemented into our edit and you guys kind of understand my creative process and mindset, find your own creative
process with this voiceover. And like I said in the
resource tab down below, I left more than
just these phrases in our project media for
you to play around with. And you could have something completely different
than I have here. Something that you feel is more inspiring to you or something that you feel is more
passionate from Bronson. And like I said, be creative. There's no right or
wrong. You could have some of the
things that he says, second, go first, or some of the things that he
says, first, go third. There's no right or
wrong, just be creative. And when you feel ready,
jump into the next lesson. We'll go over the EQ and fine tune our frequencies to make sure that
the voice over and the music are both present but not competing with each other. And I'll see you all there.
6. Exploring Everything EQ: Welcome to the next
lesson. I hope you're ready and excited. And this lesson
we'll be going over everything EQ within fair
light and Davinci resolve. The EQ is such a powerful tool that you can use for so
many different things. In this lesson,
we'll be using it on the clip level to
duck bad frequencies within the interview audio, as well as using it
on the track level to enhance the entire
interview track. And then we'll go into the
music, where we'll duck some frequencies to create
space for the voiceover audio. In the end, we
should have a nice, well rounded sound where
you can hear the voiceover and music very clearly without them competing with each other. So let's go ahead and jump into Vini resolve and
get this started. Now we're in Vinil within our fair light tab
and we have our same headed that we've
been working on of France. And the photographer,
I'm shooting this car and like I said, our objective here is to really sweeten the audio and
to get things all sounding level but together
to where the music isn't competing with the voice over and the voice over isn't
competing with the music. But yet we want to keep
a fullness in the music. One thing that you'll
always notice about movie trailers
specifically is man, those audio engineers are so good at keeping the music
driving and keeping it super loud while
you're hearing the voiceover and the dialogue from different
portions of the movie. Go on. I love that. And there's some real
cool techniques you can use to get that same
result in your videos. And we'll be going
over them here if we start with an
EQ on a clip level, because one great
thing about resolve is you have clip level EQ
and then track level EQ. And that may not be so
obvious why that's so great, but I'll show you
here why that is such an important thing that venture resolve has
within fair light. If we click on our
first clip within our edit here with the voice over and then go over
to the inspector. And the top right we have all of our audio properties
that we can change here. The volume, the pan,
voice isolation, dialogue leveler, pitch,
speed change, and equalizer. Another great thing about venture resolve is it has
this redundancy that it does. Where I have voice isolation
on the clip level, but I also have voice
isolation on the track level. And I have dialogue
leveling on the clip level. But I also have it on the
track level, which is great. And I have panning
on the clip level and volume on the clip level, but I also have it
on the track level. And the more intense
and the more complex sound design and
audio projects that you do, that'll kind of reveal to you why it's so amazing
to have these things. If we turn on the EQ,
the first thing you're going to see is two bands. And these are frequency bands. And these are bands that will control how high or low
the frequencies are. And you see if we
go to the bottom, we can turn on more bands. We have four bands we
can use on a clip level. In fair light, we can turn
on band one and band four, and now we have all four bands. Now quickly I'm going
to go through what these bands can do
within the equalizer. In band one, you're
seeing that this just falls off and what this
is called is a high pass. And there's different types
of bands, you can have. A high pass filter
is going to let the highs pass and cut the lows. And we can determine
how much we want, just the high, high highs. Or we can have the mid highs, and we could have the mid lows. And we can also
include the lows. So if you have any rumble in your audio, in your vocal audio, or any rumble that
you may not want from maybe an air conditioner
in a big building or some kind of
truck moving outside by using a high pass
and cutting those lows. That can be a really quick
way to solve that problem. Because in vocals you're
only going to get so low a vocal register is
not going to get rumble. It could sound rumbly if you
add base to a deep voice. But even my voice, it
can be pretty deep. But it's not going to compare to the rumble of a big
air conditioner in an industrial building, or what you're going to
hear from a truck outside. So you don't really have to
worry about if you're cutting into the frequencies
by cutting off these lows up to let's say the
200 Hertz frequency range. If I collapse this
dropdown under band one, I can describe the other, the other band types from here. We also have a shelf. And a shelf creates exactly
what it sounds like. A shelf where we can
move this up or down. And it's similar to a pass, but where it's
different is it does not cut anything unless
you tell it to cut. Where if I go back
to my high pass, I can move this up and it's still just going
to cut those lows. It's really not about
how up or down I go, it's about how much left or right I go and how
much I want to cut. Because it's specifically
made to cut the lows, letting the highs pass, you can see that our band two is actually
already on a shelf. So one thing that
makes this really convenient is if I wanted to
boost the low frequencies, but I didn't want to boost them so low that there
could be a rumble in the background that a really
big sub might vibrate from. Then I can move up
my band to shelf and then use my high
pass to cut the lows. And I'm essentially
getting fatter lows while making sure I cut off the lows that we
just don't want at all. Then next in band three, you can see that this is
what they call a bell. A bell is just a
notch that takes a frequency range and ramps
it up to a certain point. In this point you
can curve around and we'll get into this
and how you can manipulate this
tool in particular. But a great thing
about a band is you can get very fine
tuned with a band. And you can see down
here we have frequency, we have gain which
the frequency is where on the EQ we are
going from left to right. From lows to highs, the gain is just up and down. Right now we're plus 13
in gain just like volume, like we're turning the
volume of that one K 0.5 frequency up to
13.4 If I go down, we are minusing the volume. Minusing the gain of
that same frequency. But if we turn this
up, and then thirdly, you'll see Q If we
have this bell up, we can turn up the que to shrink the bell being able to fine tune within a certain
frequency range. Or we can widen the bell if we really want a fat
range to be selected. I'm just going to reset this. And then what we're going to
do is turn on the equalizer. We're going to listen to
our voice over audio and see if we're hearing
anything that maybe could come down
in the frequency range. My name is Bronson. I'll solo just the voiceover audio.
And if we play this back. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I'm hearing some midtones that seem almost a
little bit piercing as well as I'm
hearing a little bit of sound just from the
atmosphere around him. This underpass is not
too far from a road. And then there's an interstate across on the other
side from that road. There's definitely
some noise in there in the background that we could get out with the voice
isolation tool. But let's sweep through these frequencies and see
if we can't pull out any harshness with just
the EQ on the clip level. So if I turn up let's
say band three, and then I make that make the bell really small by turning up the E. Sometimes
it's really easy to identify a frequency
that sounds harsh, but sometimes it's a
little bit more difficult. And it helps to kind of sweep over this two K to 500 range. So if I play this back and
do a little sweep here. Hi, my name is Bronson Claflin. I'm a Nationale
car photographer. Like right there, that's a harsh frequency and it's
distorting everything. And that's at 2.6 K.
Just for an example, if I move this around, let's say if I move this
down as we play, you'll hear that
we're bringing up the volume of other
frequencies but you won't hear that piercing almost like distortion like
sound that you're hearing when we play this flan. I'm a Nationale
car photographer. Yeah, my name is
Bronson Claflin. That doesn't sound bad but
it doesn't sound distorted, which means that's probably a fine frequency where that is. So if I play this back and sweep across a few
more frequencies. Hi, my name is Bronson Claflin. I'm a Nashville car
photographer again. There is another one,
and that one is at the 1.2 K. So we'll
want to remember that. We had, I think, 2.5 and we have 1.2 So if I
go back up to that 2.5 let's say, we'll
start with that one. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer, and I can bring this down to
about minus, let's say four. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. And if I put that
again with the EQ off. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. So what I'm hearing
is that sounds a little bit more nasally
when I have it off. And that high midtone
frequency was back at zero. I'm hearing it sounds a
little bit more nasally. My name is Bronson Claflin. I'm a Nashville
car photographer. If I turn that EQ back on
and then play it back. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I mean, that's only -4.3 DB. And that, to me is making quite a difference in the
smoothness of his voice. He sounds less nasally, he actually sounds a little bit older and even more mature with those high midtones
turned down. Love that. So we're going to take band two and turn that into a bell, and then we'll use band
two to kind of dilute that sound at that 1.2 K
that we noticed earlier. So I pull this up and go
over to the 1.2 boom. And then raise our cue to shrink our bell. We can
play through this. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. It sounds like he's
talking into like a cup. And of course, I have this
cranked by what, 9.8 DB, but still that I'm talking
into a plastic cup Sound is still in the overall recording and we're just kind of
accentuating it right now, but even at zero it's there. And we want to turn that
down because we don't really want that frequency prominent
in any way, shape, or form. And maybe we'll shrink the cue to widen the
bell just a little. Now let's play this back. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Oh my gosh. This is starting
to sound so smooth. So if I turn the EQ off again
and we listen to this back. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Yeah. I'm hearing
harsh highs that especially when he has
any kind of any kind of S's or any kind of like or I'm hearing a lot
of harshness today. My name is Bronson Claflin. I'm a Nashville
car photographer, where if we turn that
EQ on and listen back, my name is Bronson Claflin. I'm a Nashville
car photographer. That sounds amazing. It sounds
like he spoke that into a completely different
mic that was much better than the tiny
mic I had on him. So that sounds good to me. The last thing I'm
going to do just for safety is turn on our high pass. And I'm going to
keep this pretty low because I do want there to be
some fullness in its voice. I just don't want any rumble from the roads that
might be nearby. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Love that. And so at that point we are done
with the clip level EQ. And one easy way to copy that same EQ to the other clips in your
timeline would just be to copy with control C. Then
you can come over to, you can even grab
the other three, and then Alt V and it'll say, do you want to paste
your attributes? Because I just copied the clip. But now instead of
hitting control V, which would paste
the whole clip, if you just hit Alt V, then it'll actually just copy
the attributes themselves. We'll click on all attributes
except for volume, because if you don't remember, we normalize that volume and each clip has a slightly
different volume. But we do want to copy the EQ and we don't have any
plug ins on there, but if we did, we
could do that as well. Let's just go at the
EQ and then hit Apply. All the way now, all
the way through, we should have this
smoother sounding vocal. Take. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I love cars because
they look good. Sound Good. You can always
catch them at a good angle. Beautiful. And one thing I'm noticing before we move
on to the track level EQ, I'm just going to clean
up this slightly by making a few fades at the beginning and the
end of our audio clips. Nothing drastic and not cutting
into his words, really, just making some slight fades, especially at the
end of this word because this is where
he had that run on word where he ran onto the next
word because it looked good. I love cars because
they look good. Sound Good, awesome. And this one as well.
He had another run on word that pretty much went
right into the next word. Sound Good. So maybe I'll
extend this clip as well by using our arrow keys just to go a couple frames over. And then dragging this clip out. And then our fade should sound
a little bit more natural. Sound Good, Yeah. Sound Good. I love that. That's good enough, especially
with the music. It's going to sound perfect. One thing you could do in certain situations is you
can curve the fade by holding this little
**** in the middle of the fade and pulling
this down or up. In this scenario, we're
going to actually pull this down slightly. Sound Good. Maybe even extend this
a little further. Sound Good. You can always, yeah, we're having the same thing happen at the beginning
of this word. Let me scoot this back just a little to do it to the
clip, then the audio. And then we can fade this in, pull it down a little bit more, so it eases into that fade. You can always catch, you can always catch them
in a good angle. Yeah, that sounds good.
Then we can pull this back with the audio
and fade out the end. Great. We'll need to go to the very last clip
as well again, just to really drive it home. We'll fade this in, come to
the end, we'll fade this out. Then one huge
difference that will be made here in sweetening this audio is just using
the voice isolation tool. If I just turn this on, all
I have to do is enable it. Now if I play this back. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I love cars because
they look good. Sound good, and you can always catch them
in a good angle. Love it. Let me turn this down by half because we really
don't need it that much. The music's going to cover up that slight sound you
hear in the background. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I love cars because
they look good. Sound good, and you can always catch them
in a good angle.
7. Diving into the Power of Dynamics: Now we'll go to the actual
EQ on a track level to bring up a little bit more highs and maybe even some lows. But let's see here again, with the track level, things are pretty similar to how they are in the clip level. Q. You just have more bands. You have two more bands on the track level Q,
one through six. Then from there it's
pretty much the same. You have your frequency range, you have your gain, and you have your Q factor. Right now we have a shelf on both ends and two
bells in the middle. One other thing you can do
is you can specify a range, because right now our band
two is only going from a frequency of 30
to about 403, 99. If we wanted to, let's say have more bells or more bands in
our higher frequency range, we could actually tell band
two to go to the mid highs. And now it's got a
range, 450-8 thousand. If for some reason
you need to duck a lot of frequencies just in this one section and so you
need to use a lot of bands. That's a good way to really
move those bands around and use them for
different frequency ranges really easily. But from here, let's listen
back to this real fast. Hi, my name is Bronson Claflin. I'm a Nashville car photographer
and I'm going to raise our shelf in band five to get a little
bit more crispness. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. And then maybe we'll
turn on our band six. And so this is just
like a high pass, but they call this a
low pass because it does the exact opposite
of the high pass, just cutting the
high frequencies, bringing them down to just
let the lows pass through. So maybe we'll go
to you about here. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Let's turn this off
and listen to it. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. And turn this back on. My name is Bronson Claflin. I'm a Nashville
car photographer. Yeah, that sounds a
lot crispier for sure. Hi, my name is Bronson Claflin. I'm a Nashville car photographer and one thing I might do as well is check our midtones for one more frequency that we
might want to bring down, the nazely thing I'm hearing. I would love to minimize
as much as I can. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Yeah, Hi, my name
is Bronson Claflin. I'm a Nashville
car photographer. Let's bring that down. But let's raise the cue first
to shrink our bell, and then we can bring this down. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Oh, come on, are you kidding me? All right, Let me
turn the Q off. Let's listen to this again. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. That sounds great. Now, we may do some tweaks
to the music and then come back and notice something to help sit in a
little bit more, But I think this is pretty good. So let's go down
here to our music. And what I'm going to do is
kind of separate sections of the music and then we'll kill some frequencies in
the clip level EQ. And then we'll leave
our track level EQ to do any enhancing that
we might want from there. So I'm going to move the cursor, the beginning of our
first voice over clip. Let's say right here. And then I'll hit
either our razor tool or I can hit control to
access the razor tool. And it'll cut there one line. I'll come down here to
the end control there. And then come up to the second
line control cut there, Come to the end of our
second line control. Come the beginning of
our third line control. Come back here, control B and come down here and control actually, hold on, let me take
that one more time. I'm noticing something weird. Just then we'll come
to the end of our first and control with
the audio selected. And then come to the beginning
of our second audio clip with the music selected control. And then at the end of our
second clip, control B. And then we'll continue
to do that for every portion where he speaks. Let me just run
through that fast and then here, find
what you love, Pursue it, keep creating. And we won't have to
do it at the end. At the end, because
it falls down into a lighter
part of the music. We can actually keep that
as is because you can hear him pretty well pursued. Keep creating. Let's go back to the beginning. We'll come to our
first music cut in his first voice
over speaking part. How many at the level in the EQ? We'll turn the Q on of this clip and what
we'll do is just duck the frequencies in band
32, maybe minus two. And then we'll come to
band two, create a bell. And we'll pull those frequencies
down, maybe minus seven. Then we'll turn band
four into a shelf, a high shelf, and
we'll pull this down. Now, my name is Bronson Claflin. I'm a Nashville
car photographer. We can pull these back up, slightly, leave the
rest where it is, and then we're going to come
to our volume of this track, and we'll do minus eight to make sure we can really
hear what Bronson saying. My name is Bronson, Claflin. I car photographer. Of course, you're
hearing the music come in and out in this weird way. For that we'll just need
to add a cross fade. So if we go to our effects and then audio transitions and
then we go to cross fade and pull this down onto our audio clip right
where we made that cut. Now we can play this back. Hi, my name is Bronson Claflin. I'm a Nashville car and one thing we can do
is hold down Alt and move one section of the cross fade to
extend it on one side. Hi, my name is Bronson Claflin. I'm a Nashville car
photographer making it a little bit more organic
in its cross fade. And then we'll do the
same for this next clip, and we'll hold Alt and move
this over to the left a bit. My name is Bronson Claflin. I'm a Nashville
car photographer. And for some reason too,
you can almost hide your cross fades in
making it seem like the music is doing some
kind of swelling thing. Because while he's talking,
you don't really notice it. It's almost like a distraction. So he starts talking,
the music swells down, and then it comes
back up as he's done. And it'll continue to
do that and create this really cool effect that you don't really
notice but you feel it. So let me hold Alt and actually move this
a bit over as well. We'll make another cross fade at our next cut in the music
where we change frequencies. Of course we'll need to
copy that EQ we did at the clip level of
this first piece of music to the other ones, when he's speaking again, I'll hit control
C and then go to the next clip where
he's speaking A, Apply. Next one apply, and
the next one apply. Now we can just cross fade to our heart's
desires and know that our frequencies are out of the way and Bronson's
vocal can stand out. Again, holding a.
I'll extend this a little bit to make
it feel more natural. Car photographer, I love
cars because it looked good. Yeah, this is great. And so another cross
fade in this cut. I'm going to zoom in
a little bit here. So I can grab this
handle, hold Alt, and I'm going to
move this back so we can make room for
our next fade here. Because this is a short
transition and Yeah, about there should be
fine. Does it look good? Yeah, so we'll copy
this cross fade here, this end over a little bit. Pulling this end over. Good. Sound Good. Yeah. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I love cars because
they look good. Sound Good. You can always
catch them at a good angle. Yeah, that's good, except for you can always catch
them at a good angle. I'm going to bring the
volume of that clip up and we're about to the max of
where we can turn that up. Which is fine. And you may notice my name is
Bronson Claflin. The voice over dialogue isn't
as loud as it could be, but we will get to that
in the next lesson, which will be all
on compression. And the EQ can really help you a lot when trying to keep that
drive of the music going, but also just clearly
hearing your vocal audio. And a lot of the time, especially when
you're starting out, I cannot tell you how many times I had the mic too
far away or there's an air conditioner
on in the background or I was in a room I'd never recorded audio
in before and I didn't notice this
weird echo at the time. And then I get back home and there's a weird
frequency or there's a weird echo or
there's a weird hum in my voice over or dialogue audio. And using the EQ to duck
those frequencies has been a lifesaver more
times than you know. So I hope you guys enjoyed this. I definitely keep
playing around with the EQ to create different enhancements
that I didn't think of. So take your time. There's
no right or wrong. Just be creative and I'll see
you all in the next lesson.
8. Final Thoughts: So congratulations
for making it to the end of our fair light
class and Davinci resolve. I am so proud of all of you because technically
with the knowledge you know now you're
pretty much an audio pro when it
comes to video. With these tools, you can do things that you never
probably would have imagined and create some
great sound for your videos. Make sure to keep tinkering
with these things. Make sure to gain
that experience as you go and play around
with these different effects. Try to use things I
didn't even show you, because you never know what
you might run across that might inspire you to
create something great. Also, make sure to leave your project down
below in the gallery. One thing that's awesome
about these classes that we can all share our
project with each other and you never know
how your project might inspire someone else with their creative
decisions on how they handle their edits
or their audio. And we can comment on
each other's work and all grow as audio
editors together. So again, thank you for
joining us in this class. And make sure to
remember there's no right or wrong,
there's just creativity. And we'll see you
all in the next one.
Marcel Patillo, YouTuber, Filmmaker
