The Art of Film Sound Design with Cubase - Learn how to create the sound design of a scene

1. The Art of Film Sound Design with Cubase Learn how to create the sound design of a scene: Hello, my name is Badillo Paper. I am a film director, film score composer, and sound designer. I have been doing sound design for films and advertising, and even composing the music of my files for more than 15 years, working in front and behind the camera. During all the time, I have used sound language as an instrument to convey emotions and generate deep sensations in the audience. I have created this course so that you learn how to do sound design for audiovisual productions day. Will you edit the sound design of one of my best productions? By the end of the course, you will be able to do a completely professional sound design, truly understanding the dimension of a film. You will know each stage of the sound design process so that you can even work on a film set with a professional production team. Making sound design goes much further than mixing sound is a creative process that requires knowledge of a cinematic language to be able to represent what the film script needs from the sound power. What delivers. This course is designed for sound lovers. We want to know how the sound design of a film is really created. Let's review what are the contents of the At in sound design. First of all, in this course you will learn by creating One of the most interesting things. Is that you will learn to use the Qv system throughout the entire course. But first of all, you need to learn to differentiate between the sound design, music production, and the sound engineering. It's necessary to be clear about it in order to become a professional sound designer. On the other hand, you will know exactly what equipment Gene record, an actress performance and set, and know exactly what you need to develop a professional sound design from a home studio. You're going to learn the importance of sound, sensory signifiers, and the movie script. So that you will learn to replace visual elements of a movie with sound elements. You will learn the importance of low frequencies in the semetic power of the film. You will learn also how to transfer the stereo language to the 5.1, so round language. Throughout all the scores you will edit with me even the smallest sound of scene watching the scenes of my works. So that you really feel doing a sound design from scratch, learn everything from real movies on the screen, even using contact media technology to truly take the sound design to the next level. As a course project, you will have the chal***ge of creating the sound design of sin, just as I do in this course. Believe me, you can manage to become a real sound designer even if you are already an expert using Vs and recording in the studios. You need to know the film sound language to really create the sound design of a film. My name is above and this is my Ali in sound design. 2. What is Sound Design Why does sound design exist: Hello people. The first thing I'm going to address in this course is to clarify something that I've come across throughout my career, not just during my career making movies, but making music with my band. It's necessary to learn to differentiate between what would be a sound engineer in a sound designer, which would be more or less similar to differentiating between a music producer and a sound engineer. There are two completely different things. When I was starting to record in a studios with my band, in all the studios I went to the sound engineers recognize themselves as music producers just for the sake of recording your music, mixing it, and giving your sound at the end of the session, and this is the farthest them from reality you can witness. Music production and film sound design are completely different things than sound engineering. The function of the sound engineer is to correctly record and mixing studio. Whatever you are going to record is a completely technical job that has nothing to do with designing the sound of a movie or producing music for an artist. But as far as what concerns at this moment, which is the sound design for audiovisual production, it's necessary to know that the sound design is the creation and ordering of the elements that are going to represent the sound dimension of an audiovisual product. That is, everything that sounds in a movie, for example, how the environment sounds, the cars, the voices, the footsteps of people, everything, Everything that is played in an audiovisual product went through a stage of production in ordering to achieve a positive response from the audience. Obviously, the sound design also includes all the created strategies that based on the distortion and the creative ordering of the sounds allows us to improve the audio visa language of the final production. But why does sound design exist? The main reason why sound design exists is because the shooting sets are very complex ******. There are practical workshops, workshops where there are many people working at the same time to make the scene come out perfect. But almost always the work that is done in the sets is more related to the visual recording of the sound. Recording is also important, but the most important thing is the visual one, because it's the most complex of all and the most expensive of all. Also for obviously good reasons, imagining cameras, studios, special effects, the entire crew behind the shooting of the scene, actors, everything, Almost everything is focused mainly on the visual recording. So when it comes to creating the sound of a scene, that is to say the sound that the audience will hear in the movie theater, set conditions are limited. Don't you mention that the cases where the scene, the whole scene is shoot in a studio with chroma screens, which will be then replaced by a search and landscape at a background, for example. I'm going to give you a perfect example of this, the following scene from 1917. You can see and feel everything as if the sound came out of the setting. But the truth is that assuredly the only sound that came out was perceived at that moment was the engine of the vehicle that carried the camera. So all the sound of what you are supposed to hear in the movie has to be created later. And to be able to do it, you need to have creativity, technique, and the cinematic sensitivity that allows you to tell everything that is happening in the sound spectrum. 3. Where does the sound desing come from: Hello people. In this lesson we're going to see in detail how a professional microphone, like it is. One really works to record in film set and what its components are. But not only the microphone but also the port table recording device. The idea is to be able to give you a description of what equipment you're going to use in the film set is like, so you become familiar with it. In fact, it's a lesson that had not only included in the sound design course, but also in my filmmaking course. Because it's a knowledge that every film director should know. Let's start then. If we are under conditions where the priority is to make the visual recording, I'm referring to the conditions of a film shoot. This question immediately comes up, where does the sound come from? There are two main sources, live sources and back cap sources. Once we have the recordings, we will go to the post production stage where the sound design is created and edited. Obviously, it's necessary to know the sound sources in detail. Live sources are generally all those related to capturing the actor's performance. Audio, mainly the voice and gestures produced by the actor's voice, but also the live recording has the objective of recording the sound of the actor's body with respect to the sounds produced by the interaction of the character with the environment. But there are also external sources, which would be those previously recorded or created sounds that don't belong to the actors actions in the settings. Of course, all those sounds that were not recorded in the setting but are going to be added to the mix to represent the environments, the actors, and places in which the story takes place. But here there is an exception in this sense, because sometimes in the setting it's not possible to capture the dialogues or vocal expression of an actor. Then it's necessary to do a abonlaor in the studio. This is also counted as an external source. Let's see then how the live recording is done. There are three main sources for recording live sounds. Unidirectional microphones, Omnidirectional microphones in the Leven microphones. These microphones are connected to a portable cording device where the information is stored that will later be taken to the mixing studio. I'm going to explain to you what each of these microphones is used for. What you are seeing on the screen right now is a classic condenser microphone for recording on a film set. The microphone is the long bar that you see above. The rest is a device that allows the microphone to remain still when attached to the extension stick. These microphones can be unidirectional or omnidirectional. Despite that, they can look exactly the same. Unidirectional microphones allow us to capture the sin of that place or source at which we point the microphone. On the other hand, the omnidirectional allows us to capture an angle greater than 180 degrees to a 360 degrees around the microphone. These microphones can be connected with a cannon cable like the one we can see on the screen. This kind of microphones have high sensitivity to sound. They must be protected with a shield that protects the microphone from the wind because the wind can generate noise shocks in the recording. Let me stress that this is so important that we should add an extra hair cover that allows us to forward protect the microphone from the wind. Generally, the shield is never completely covered with the entire hair cover since we may need to change the microphone or correct its connections. After all is the front of the microphone that is going to capture the odio. The entire microphone set is connected to an extension stick that allows us to hold the microphone in the air as we want. But this microphone must be connected to a Port table recording device. This example that we have here is an H, a um, device for recording on a film set. This will allow us to connect several microphones and record audio within the device on a memory cord. Portable recorders are very simple. It's simply a device that allows us to record and save the audio captured by the microphones. In this case, this device has six audio inputs so that we can record with six different microphones at the same time. Audio recording can be monitored by using a headphones. That you can block right at this point. Additionally, this device comes with a front stereo microphone. This microphone is interchangeable with other models and allows us to record stereo environments with the highest quality. This microphone has its own volume control in the same way as the other audio inputs regarding the device system. It's very intuitive. Easy to use in this case is a touch screen. We press on the part of the card where we see exactly the folders where the audio will be stored. We can delete vice and format the memory. In this other property, we can see the output volume of the device. Since this device can also be used as an audio interface, there are a specific configurations to work with PC or Mac. We also have this another property that is very important where we are going to check if the audio is not saturating the different audio inputs. Additionally, there is another property that is often used to record music with the device. Finally, the last property that this specific model brings is a special configuration for people who record podcast, which in these times is something widely used. It's important to note that this device gives you the possibility to record the audio coming from each audio track in different files so that we can edit the audio in separate tracks. Microphones must be connected to this device in this way, as well as the headphones with which we are going to monitor the recording. Personally, I highly recommend using two sound technicians at the time of recording. One who can carry, hold, and control the portable recording device. And the other technician who will carry the extension stick with the microphone, who must also wear the headphones to monitor what he's happening, what he is listening to. Two sound technicians must be used because the microphones are extremely sensitive, so any vibration can cause noise in the recording. But you guys can try to carry both if you can. Now we're going to listen to a unidirectional microphone. In nondirectional 1 1, 2, 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2, 3, 4. When it comes to correctly position H in the microphone during the recording of the scene, confusion usually arises because we know the classic image of a shooting setting where there are a technician, audio technician, person holding a microphone on above. And believe me that in the middle of the shoot, I have seen many people making this mistake. That classic image we see the so technician holding a microphone over some actors during filming almost always belongs to an omnidirectional microphone. Omnidirectional microphones allows the entire area around the microphone to be captured in a 360. We range physically. They can look identical to the unidirectional ones, but obviously their function is different. In the case of omnidirectional microphones, this is the correct way to use them. The reason why you see that the microphone is used from above in film shoots is because it's the best way to shorten the distance between the omnidirectional microphone and the actors faces. If we were recording a shot like this one where the two actors appear in full body, the most convenient place to do it would be above high enough so that the microphone doesn't appear inside the shot. Obviously, the wider range of the microphone allows us to capture the conversation between the two actors. However, it's important to note that there should not be too much noise in the place while recording. With this technique, it's important to take into account all these details in terms of production. Additionally, you can notice that if the microphone were position add in another place, such as from below. For example, the distance would be too much between the microphone and the actor's faces. We would have to bring it too close to make a good recording, and the microphone would appear inside the shot. In this other example, we could use the microphone from above. It's the most convenient place. But since the shot is much more closed here, we have a little more freedom to position the microphone from anywhere. Because when we realize what the final shot would be like, we noticed that the microphone could be down to. But we can only do this under these conditions in which the shot is close enough to actors faces to be able to play with the place where the microphone will be. However, whenever possible, always position the microphone from above. To avoid problems. That is, unless the shot is a low angle shot, I mean from the boton up, always use the microphone from above. But in the case of unidirectional microphones, they work completely differently. Pay close attention to this, because the microphones look very similar to the naked eye. Let's suppose that this is our film set and we need to capture the voice of the actress. So all we have to do is position the microphone pointing at the actress mouth from a place where the microphone doesn't appear in the frame. This is a great technique to record the voice of the actors personally. It's my favorite because you are exclusively capturing the voice of the actor in a conversation with a great quality, a greater quality to what you would have using an omnidirectional microphone. The most interesting thing is that you can play with the position of the microphone. That is, it's not imperative that the microphone is from that side. You could perfectly place the microphone from the other side and capture the girl's voice in the same way. In fact, I think that in this case, it would be even more convenient because we can get even closer with the microphone because the other actors head would cover the microphone. Obviously, we are in a context where we are only interested in the voice of the actress. But remember that there are always two points of view because there will also be another shot where the actors will appear speaking or listening. For example, the choice of each one of the microphones will depend on the characteristics of the scene I'm reference in the first place to the value of the shot, if it is a close or an open shot. And obviously how close one actor is to the other. But there is a third kind of microphones that are level. The microphones, which are exactly this microphone I'm using at this moment. You just have to hide it inside the cloth, close enough to capture the actor's performance, the actor's voice. Almost all of them are wireless. It allows us to capture the actor's voice even when it is a very open shot. For example, a very open shot where it would be impossible to place an omnidirectional microphone because the technician would be seen holding the microphone inside the shot. In those cases, the level a microphone is a very good option. But what is the disadvantage of this level a microphone? The the sound quality is much lower than that of the traditional microphones. I mainly think that the size speaks for itself. You can compare all the sensor a professional or condenser microphone can have with a level A microphone. But why is there this difference due to the dynamic range. Dynamic range is the sound space that a recording or sound sequence occupies. That is the size of the sound spectrum from the lowest to the highest point. Generally, the higher quality a microphone has, the greater sensitivity is. This is basically why 1930s movie sounds too bad to us today because we are used to listening to movies with really dynamic sound using a huge spectrum. Obviously, a level microphone has less dynamic range than a traditional uni directional microphone. Of course, there are exceptions. The problem is that a high quality level microphone is really expensive. But in any case, let's say that you are shooting a battle scene with Y shots, where it's impossible to place an omnidirectional microphone. For example, we should use the level ones. But additionally, if the cases that are level microphones are not good enough, are not that good, then you should use the level ear microphone only to record the performance of the actors later to a Davin in studio having that reference. But there are other elements that must be recorded in the setting depending on the characteristics of the scene. I mean, steps, footsteps, doors, et cetera. All this is done in a wild track. We track that has the objective of being the backing that we are going to use in the sound mixing to create the sound design way. Just those sounds related to a specific details such as clothing, footsteps, and textures also are recorded with unidirectional microphone. On the other hand, sounds such as the rain, wind, cars related to the environment are recorded with the omnidirectional microphones. The sound technician in setting usually works hand to hand with the script orders filed that are recorded so that the sound designer can later identify each of them, each of the sounds in the editing. When I say the script, I mean the person who has the order scenes in the setting, in a shooting. I don't mean the script itself. You already know how to record in the film set is it's a very valuable information for you to be part of. A professional production team. A vocal le, for young film directors and sound designers. Who must lose their fear of immersing themselves in this recording and film set until the next lesson. 4. The scene, the script and the sound: I have titled this lesson, the scene, the script, and the sound. Because a good sound designer has to have knowledge of the following. Understanding the production possibilities of a project. That is, the chal***ges that the project faces in terms of production. For example, how many visual effects will the films have? What role will the sound design play in the sensation that the audience will have in the movie theater? In this sense, several possibilities will arise. We will start with the first. The first has to do with using sound design to save production resources and improve the film's semiotic language. This will happen having the opportunity to translate things that are in the screenplay. I mean real and visible things. Elements of the environment or nature, for example, by sound elements that replace that, saving the production resources and at the same time in reaching the language of the movie. In this sense, I'm going to show you a example from a scene, from a short film that I directed where we replaced elements that we could not have in the scene. In terms of production, we replaced them with sound design. So the scene is about a rebel soldier who is looking for his father in the middle of a valley where there was some kind of battle between conquering Spanish soldiers and indigenous people who live in that mountain. Then the characters is walking, seeing the corpses in order to find his father in the ground. But then the soldier was supposed to see an indigenous mother in the distance crying over the corpse of her daughter. But in terms of production, we couldn't do that, so we had to replace it with sound language. And that was the result. Let's check it out. H. So as you notice, just by adding the sound of a woman crying in the distance, the presence of the woman is already felt. It doesn't matter if we don't see her. She is there and even feels like the characters actually listen to her. This is a perfect example of how using sound language we can improve the audio visual language of a film. On the other hand, that sound design that we add to the movie can help to improve or hide the weaknesses of a movie itself. In the following movie, the movie Ghost, I don't know for what reason the demons were depicted like that. I say this because at that time, there were already good visual effects in the cinema. In films, there were good enough to avoid doing what they did. But I suppose it's very easy to say that from my time, just because Terminator Two and other movies had great special effects and visual effects back that time doesn't mean everyone had access to that technology. The point is that in Ghost, the demons that take the soul to the hell after death. I would say that they are even funny, but the director of the film knew it. The truth is that at that time, 1991, there was the possibility of having good audio recordings. Therefore, the directors made the decision to do everything possible because the sound of the demons was so terrifying that compensate that weaknesses of the visual effect department and special effect department. So let's check it out. See, oh Carl. Did you notice, in fact, they look like cartoons, like vague shadows. The thing is that the sound design is terrifying, really scary. The sound makes you feel what you're seeing in another way. This example is extraordinary from my point of view. These are the things we think are random. But no, they are deliberately done to the correct elements of the film. Now we're going to see another very important example that has to do with the script, with the screenplay. The importance of si***ce. Si***ce is a sound signifier, which is often underestimated because we are so overwhelmed by technology and by that desire to make sounds that we forget how valuable si***ce is at times. So in the next scene, the main character is divorcing from his wife. That is to say, they are already separated and she is only singing the divorce papers while they have one last coffee. But while she is singing her documents, he begins to remember everything that he lived with her and how quickly. With a simple signature, everything is over for him. They check it out. Just get it out of the way. It'll be easier of if you notice the creatives made, the decision to leave the sound of the restaurant in the background while the character remembers what he experienced with his ex wife. All memories are si***t because the truth is that they are. What I'm trying to tell you is that in most of cases, film directors would have decided to leave a sample of the memories explicit, with all the details, including the sound dimension. But now they know how important the absence of sound can be. Of course, the assistance can even come from the film director, because a film director must have knowledge all the creative areas of a film. But you could do that. You could of course, propose it with great respect to a film director if that were the case. Because when you are doing the sound design, you will be in the very process of creating the sound. In this process, new ideas arise, and a good film director must be aware about it until the next lesson. 5. What equipment should you have?: Hello, everyone. I guess many of you are wondering, can I really do sound design at home? I mean, in some kind of home studio, the truth is that the answer is that you absolutely can. The home studio revolutionized not only the music industry, but also the independent film industry. You can even mix around 5.1 at home. However, since this course is for you to learn sound design, I'm going to teach you mainly stereo mixing so that you can do it at home very well. In order to achieve this, you must have three very important elements. First of all, a good computer, it doesn't have to be the best one, but with a good configuration that has at least 16 gigabytes of frame, a good processor, and a solid hard drive, the price of the computer is very borrowed. It depends on the ground, Let's say from the 1,500 to $3,000 approximately. But this is relative. You could find a good computer somewhere that cost even less. That already depends on you and the country where you are. The second thing, MSF is a audio interface. The audio interface doesn't have to be the most expensive of all. It can be a simple two channel one. There are many examples, there are many brands. M audio panos varying a simple two channel interface can cost $200 approximately. Additionally, you would also need two studio monitors. You had to pay close attention because to make a movie sound design, this speaker should be able to reproduce very low frequencies. Unlike a musical musical production in modern cinema from this time, low frequencies are used a lot as a sound signifier. In fact, it's something that we are going to see in this course, later on. Being able to feel and play with this is a valuable resource. In order to be able to experiment properly, you must have these kind of speakers, these kind of monitors. For example, here we have presson monitors. They are very good. You can find them from $150 to $200 There are many motor brands as well. Additionally, you will need a sub buffer. It's an additional speaker that reproduces the lowest frequencies typical of current movies. There are many brands of sub buffers, but I highly recommend that the super buffers and the speakers are of the same brand. In this course, we're going to work on the low frequencies. I can recognize low frequencies using only these two monitors. But it's not something you are going to be able to do at this time. At first, if you want to have a complete set, I highly recommend having the two speakers and also the super buffer. In the case of 5.1 X around, you simply need five speakers plus a super buffer and of course, an audio interface that has at least six outputs. Another important element is the headphones. There are different options rewarding headphones. There are sound engineers who recommend that you have headphones without flat equalization so that it is faithful to the mix. Professional mix and headphones in general all tends to be flat. But the truth is that our mix is going to be reproduced. It is going to be played in a movie theater. And movie theaters don't have flat equalization. This not only happens in sound design of movies, but also in the world of music. The sound engineer must always think about how the mix will sound on the televisions, in the different types of sound devices. In a home, for example, in a movie theater, that is essential. I highly recommend the 280 Cent, his. They cost approximately $100 or a little bit more and are highly reliable. Well, that would be all about equipment. Obviously you need the digital audio workstation, which this time we're going to use the base, but are authors like Pre tools for Mac et cetera. But you want to know the truth. They are all the same but changes is the Indian who shoots the arrow, that is how to use it. Well, let's continue with this sound design course until the next lesson. 6. Project Explanation: Hello people. In this model we are going to dig several scenes from a short film, Cross Under the Moon in. As the idea is that we gradually learn how to dig sound design from scratch. Pay close attention because there are several lessons. But above all, remember that you will be learning to use base as this model progresses. Additionally, I'm going to leave you an important task. As an exercise, you're going to search on Youtube for sine from a movie that you like, sine that doesn't have dialogs. And you're going to download it and try to make the sound design completely from scratch. Just like you're going to learn in this model, this is an excel***t exercise to achieve this. So pay close attention and we're going to continue with this sound design course. 7. Configuring a Project: Perfect. Here we are. We are ready to get a powerful insight in Q vase in order to approach sound design properly. Even though this course is not mainly focused on vase, I mean the software, the digital audio workstation, it's important to know how to use it to give you the chance to develop your Ram project of any nature. The idea is that you followed the instructions very well, but I'm going to explain to you the most important properties and features in order to use it whenever you want. I also remind you that this course is developed in Vase 10.5 but you can use the version you want. I think the most advanced is 12. I think they are practically the same for years. So here I have already opened the vase. We go to the file tab and press a new project. Immediately, this window will be opened and you're going to find all these patterns and presets that the vase gives us in order to save time. But I think the most important thing is to create an empty project from scratch. We're going to go to this button, and we are going to click on this button, Create Empty. A browser window will be open. Immediately, you have to choose the folder you want the project being. So I'm going to look for the folder I set for this project. This one. Let me stress that the audio files related to this project will be in that folder. We select the folder and automatically a new project will be opened. Before doing anything, we must save the project. Then we must go back to the file tab and click on Save S. We are supposed to select the name of the project by the fold, the software will save the project into the project folder, the folder that we previously chose. The most interesting thing is that we can move the project folder or whatever we want. The project will work fine. It's something very practical. I'm going to close this project, and I'm going to open the one I have already created for the lesson. This file titled Sound Design Perfect. Once we have already created the project and save it properly, we have to make sure that our sound card is properly connected to the Do digital audio of work station. The purpose is that you have a general idea of these kind of connections. You must go to the Studio tab and then you click Studio Setup. There are several properties here. You're going to focus on BST Audio System right here. Below this little tap, the name of your audio interface will appear. Actually, my interface is a lexicon, but since I'm recording the lesson, I must use a program of software that simulates a digital interface called voice meter. Then clicking there will open the general properties of the interface. But by clicking on control panel, we will have access to the interface configuration. In the case of my interface, this window opens. These properties allow me to establish the recording resolution above of all configure the interface that it works in the best way. With respect to the performance of our computer. You can change the application priority setting so that Door takes more Ram from the computer. And you can also change the system performance so that the door recognizes that the computer is not so powerful, for example, and adapts to that. All audio interfaces have this. It doesn't look exactly like this, but its function is the same. It works the same. By setting this, well, you will be able to get the most out of your computer and believe me, that is important. For example, I have it configured to get the best performance possible. You already know where the interface is configured. It's important to know this because most of the performance problems are related to this. Here on the right, you will find what is called input latency and output latency. These parameters are related to the time it takes the computer to play and record. A sound Latency is the time difference that can cause recording or playback to be inaccurate. Generally, when you're working with audio interfaces, this problem doesn't exist. But the problem will be noticed when your computer is not powerful enough. I mean, for the fastest configuration of the interface, it will generate a delay that in the case of vase vase itself corrects that delayed in the recording. That is to say that if there was 1,000 seconds delay in the recording vase itself corrects that. What you're going to notice is that as long as you are recording, it may stop recording. Or simply after recording, the computer stays for a few seconds thinking. This list that you see here below. This is related to the number of inputs and outputs that the interface has. Actually the number of inputs and outputs that appear here do not correspond to my interface but to the software I'm using to record the lesson. My interface only has two inputs and two outputs, but your interface could have as many channels as possible, like professional studio mixture, I mean 50 channels, 100 channels. For example. Once you have connected your audio interface with the doll with the base, we must go to the audio connections. Here we must make sure that the inputs and outputs of the interface are enabled. For example, here in the Input tab, you will see all the connections and inputs that the audio interface has. The problem is that sometimes, by default, this for some reason, is set to not connected. We think that the software doesn't work, that nothing works, that everything is damaged, et cetera. And it turns out that it's not enough to set the audio interface, but rather make sure that the inputs or outputs are connected in the audio connection properties. The reason why this exists is because sometimes our project is simple and we don't need to use so many inputs. The software allows us to enable only some of them to maybe work more comfortable in base. For example, if your interface has 20 inputs, those 20 tracks will appear in base, it's more unconscionable. The same story happens with the output. We must check the audio output so that they are enabled so that the audio can come out through our speakers. These are the typical simple problems that sometimes make us waste time. Do not take for granted this. On the other hand, in the same type, a studio type that I would say, it is the most important of all. In addition to the audio connections, you will find the mixing console. This console is a digital representation of a physical console. I mean that mixing console that you can find in any studio with hundreds of tracks, approximately 20 years ago, those consoles were still analog and what they did was connect each channel to an input of the interface. But now the console itself is an interface completely connected to the door. So that is why I tell you that this is a digital representation of each one of the tracks of a console. And obviously in this case here will be the fathers of each of the tracks of our project. It's important to note at this time that depending on the version of Q vase you have and I'm talking about the version in terms of number, I mean 91011 or 12. I'm talking about the version in terms of properties, that is elements, artists or professional. For example, elements doesn't allow you to add an infinite number of tracks to your project. That is a limitation when it comes to sound design for movies, which requires a large number of tracks. Another important property of the studio tab is the BST Plug In Manager. This tool allows us to configure the internal and external effects of vase. I mean, sometimes we buy or look for plug ins for archives with the purpose of improving our mix. To improve our work. And all these plugins should appear here. This tool allows us to know if the plugins are correctly installed. That is, once they are installed, they should appear here. On the other hand, if it's the case that you have not Bod plugins, I need to get them somehow because I know that that happens. You don't load them from some page how they're freely or free. Sometimes you have to install the plugins manually. The base will tell us below the specific folders in which these plugins files should be. I highly recommend you trying to buy the original ones because the cracked ones generate errors in the system. They tend to generate delays and performance related problems. But as I told you, if you're going to get them like this, I mean for free and outdoor internet surfing internet, you must go to the folders that Kv shows below and make sure that the blueing files are there. This is very important. On the other hand, it also happens that sometimes you uninstalled vs Blueing, but they still appear in the fat list. It's a annoying because we usually have a long list of effects and believe me, we don't want to have anything useless in our work space and that will slow us down in cause confusion. Additionally, I could tell you that the quality of our vase is not related to the version of it. I mean, if it's ten or 11 or 12, I would say that the better the quality of your plugins, the better Q vase will be. That is not the most important of all, but sometimes it is crucial for the quality of our sound design. After this tool, we're going to go to BST instruments. This window allows us to know which or how many Di instruments are connected to the Kva. I'm not going to delve into this at this moment because it's a lesson that I'm going to give later on in the course. I don't want you forget this for now. Remember that although this is not a soundtrack class, we are going to see some media elements to improve the sound design of our works. The following property is audio performance. This tool that is here is a metal, like some blue lights. This tool allows us to know when we are approaching the top of our systems performance. This is important as we activate effects. The blue light that blinks here will go up. So obviously when it reaches the limit, the system will start to crash. It's important to know that there will be two main failures, the two Ram memory failures and hard drive failures. We need at least eight or 16 gigabytes of Ram that these kind of things doesn't happen. On the other hand, a good quality solid hard drive so that the system also runs smoothly and fast. It's important to know also that depending on the resolution that we have set in the project, it will also consume more memory or not. So this tool is very useful to control if we have the possibility of adding more plugins, project or not. It's always important to have a good computer though. The following properties is video player. This tool is essential for this course because this is where we are going to see the reference video of the movie or short film for which we are going to do the sound designed. This screen is going to be connected to a video track where the montage will be. In any case, I'm going to show you this later in the course when we are adding the files with which we are going to work with Only that it's important to know that it's one of the most important properties of this studio type that I insist. It's one of the most important types of the vase. The next important thing is required. This tool allows us to connect other software to vase. For example, when I used to make music for movies in a very old software called Reason, that software had the possibility of connecting to vase through this tool, you could also connect the fruit loops to vase by using this tool. I personally do not recommend this because it consumes too much memory. And I think that in that sense, contact is much better. I mean that media technology of contact. But it's important to know this because this is a tool that allows us to connect vase with other music production software. For example, if you have a very good computer, you can try it without any problem. The last one is the studio setup that we have already checked where there is BST audio system, when you can configure your audio interface. But generally the most important properties of this set up top is BSD audio system. Or you can configure your interface and this medi port set up if your Medicontrolerkywor is already available. Actually, it's not that complex. We're going to leave this lesson up to here and we're going to continue advancing in the most important Qvase properties until the next lesson. 8. Knowing the Audio Tracks and Tabs: Perfect. Once we have already prepared our project that we already have our folder created and we have saved the project in it. Additionally, we know what is the studio tap. We are ready to move on to the project tap. In this tap, we must focus on two properties. We must go to the project setup on the bottom. We're going to click in it and we'll be open this window where we are going to find sound features. First of all, we're going to focus on the frame rate. What is the frame rate? Since this is a course focus on sound design, it's important to set the frame rate of the project with the frame rate of the video file that we are going to use for the sound design. The problem is that if the frame rate doesn't match that of the video file, there may be errors when you go to export the audio file, It may not happen. But it's also possible that it happens due to the frames, especially in the transitions from one shot to another. These transitions are direct, Most of them are direct. They don't dissolve. So this discrepancy between the file and the project could cause problems. Additionally, it's important to know that the video file that we're going to use to edit the sound design must have very low resolution. The lowest possible resolution, you may have a powerful computer, but still we always reach the limit. You should pay attention to that. In that little type, we can change the frame rate. It may be 24 frames per second or 30 frames per second, et cetera, et cetera. But when it comes to sound design, the most important thing is that the project frame rate matches the frame rate of the video file right here. Below, you can change the sample rate. The sample rate is the resolution, that resolution of the project match that resolution you set in the interface settings that settings we saw in the last lesson in the studio top, et cetera. Here you can change the bit depth. It's also related to sound quality right here. You can change the audiophile format. It can be a wave. Or if you're working in Apple Mac, you can use for example, they are all not compressed formats. Everything you're going to record in the vase are going to be stored in the hard drive in that format so we're ready to start adding the tracks. We go to the same project tab and then we unfold this ad track property, and then we select audio track. This small window immediately opens. In the first box, you will be able to choose the audio input. I mean that specific input of your interface that you're going to connect to this track. I remind you that many inputs appear here because I'm using the software to record the class. But where it reads, Select Hardware Input, the inputs of your audio interface will appear. This is important because you could have several different microphones connected to different tracks, recording anywhere in a studio, for example, or in your home studio. But anyway, you can modify that later too. Tracks can have two types of configuration. You can set a model configuration, interior configuration. But what is the difference between these two depending on the kind of recording device you are working with? I mean, also the kind of microphones you're working with. The device will generate a mono or sterio file. In other words, if you're working with a portable recorder and you are using only one microphone, for example, the device will generate a mono file in. That file is supposed to be in a mono track when editing. On the other hand, if that same portable recorder is working with two microphones at the same time, the portable device is going to generate an sterio file in that sterio file is supposed to be on anterior track in Q vase. Depending on the nature of the file, you should set this to mono ortero. If you don't, it's going to sound bad and you're going to notice it. The main difference is that basically if you add a mono file on a stereo track, it's going to sound on one side only. On the other hand, if you add a stereophile on a mono track, it's going to sound terribly bad. Let's continue then here where it reads audio output. It has to do with the channel where this track is going to come out. A steroid is the main vase, mix the stereo track where everything we're editing comes out. You can also add several tracks here at the same time. Even change the name in the name box. When the tracks are here in the main panel, the timeline is generated and you can change the name of the tracks as you want. Let's make a review about these symbols. This button is used to mute the track that it doesn't sound. The button is to play only the selected tracks When they are selected, the others are automatically mute. Additionally, this little circular button works to enable the track, so you can record on it. For example, I'm going to enable the first track, and I'm going to press record down here, Spanos there I'm recording on the first track. If instead I wanted to record on the next track, for example, the third track and andando there is also the option to record in two at the same time. Dopants probando. When you already have your recording, you can move and shift them in time. I'm going to move the clips a little bit If I only want a track above to play, or if I want only the one below to Sound. I can mute the other tracks, for example, like this. But at the same time the tracks that are here in this panel are connected to the mixture. I mean mixed console, what we had to do is go to the studio, tap and open the mixed console, the one we saw in the last lesson. But notice that there is an important detail. Despite the fact that we only have four tracks on the main panel, seven faders appear on the mixer as if there were seven tracks. The thing is that these first two tracks belong to the tracks that we activated in the audio connections. I had told you that if we activated more inputs, more tracks would appear here. This first track that is here is a stereo reference, all inputs. And the second track is the input itself, where I have my microphone connected to pay attention that their faders are color red to differentiate them from the project tracks. These faders allow you to lower the volume of the input so that it doesn't distort or go all the way. It's a digital weight of lowering the gain of the audio input. Right after them are the project tracks which have white faders. This is done this way because it's made to look like an analog studio mixer. The mixed console is connected to the tracks we are working on in the timeline. It's exactly the same, only the mixer allows us to more easily control the volume of each track. All digital Ad workstations work under this same principle. On the other hand, remember that there are interfaces that include the physical mixer. So when I move these failures here, the physical faders also move. It's a great tool for professional studios. Actually, in the last red, fader belongs to the output track. All that is coming out there is the final mix in stereo. And also that last track works as one more track. That is, you can add effects and plug these in the same way as in any track of your project. Now by pressing this letter E here, we're going to move on to the properties of the track. I'm going to talk about the main functions of it, but we are going to see them, all of them throughout the course. Here you will find three main panels, but what does each of them work for? In the middle one, which is the main one, we can add a series of fold Q vase effects, compressors, limiters, equalizers, et cetera. By using these general effects, you can quickly modify the nature of the sound without having to resort to any external effects to vase. The Q vase itself also comes with plugins, which we'll talk about in a moment. But this central panel makes us work easier. For example, on this tap there is a parametric equalizer, which has a graphic where we can modify the frequencies by generating points that modify that blue line, that is the qualization line. Basically, this is a general objective of the main panels to give you the chance to modify the nature of the sound by using these effects. Here, they are not the best effects, but they are quite good to mix. To do sound design, I usually use external plugins. And that is why we are going to talk about this next panel, the one on the left, which from my point of view is the most important of all. This dashboard allows us to add external effects to vase external blueing, but also those blue gins that vase brings By default, you can find each of them here in this case, for example, I use a T Rex parametric equalizer and I look for it like this, I select it and it's automatically added to the track. So this is a better equalizer than the ones that Qvase comes with. And I can configure it however I want. Each of these little boxes that are here have the purpose of adding effects. You can add as many as you want and they will be perfectly organized. But on the other hand, in this right panel, there are descends. There are tracks to receive external effects to the track. What is the purpose of this right panel? That when we add effects in the left panel, for example, we are going to consume more Ram memory of the computer because that effect would only affect that single track. The solution is to create an effect track. Right here in this track, I can add an effect, can name the track with the name of that effect to identify it with the purpose to generate a single general effect that can affect all the tracks I want, I can use that reserve. For example, my new effect track is immediately added. I cannot record on it. It's only an effect, which in this case is this reve. Obviously, when it comes to having a great sound quality, we use fancy effects that consume computer resources. We can add as many as we want. In this right panel, we click one of the boxes and select Reverb, that Effect track in which I add one single effect can affect all the tracks I want by saving a lot of Ram in computer resources. But if you have a good computer, maybe you will not need to do this. However, to the extent that you specialized in sound design, you will be looking for more advanced and heavy plugins. And believe me that you will take your computer to the limit, then you will always have to do this. As I told you, you had to create an effect track and you will connect it to the sends in the right panel of the track. Properties. In any track, of course, I'm explaining the most important for you to have a really useful knowledge about the QB is a powerful insight. So let's try this effect. I'm going to add it to the sen and I'm going to record some voice to try it. Gravano, something was missing. It was not on, it must look orange. It's possible that your base version is of another color. Let's listen to it again. That is, that would be to add the revert by a scent that is using an external. But as I told you, we can remove it and we can add the direct revert in the left panel directly on the track. In this way it will have greater quality, but it will only affect this track and it will sound much cleaner. But also consuming more resources of the computer. Using an external effect Track also allows me in a certain way, to add exactly the same effect to the same tracks. But this is not the only way to achieve this. We can go back to the Project tab and press a Track. We can click Group. But what is this group track for? Let's imagine that all the tracks must sound as if they were in the same place. I can create a group track with the name of voices, for example, there on that track. I can add reverse, but not only that, I can add penon compress source equalizers, but all that track is going to work as a general output of the tracks that I connect to it. As I'm adding this reverse, it could be an effect with the difference that there will only be a general configuration here. We cannot individualize defect as in the case of the external effect track. For example, here on the first track, we open the track and make sure that the output is connected to the group track. Remember that we can change both the input and the output, so we must shift the output to the group track. That is called voices. Of course, then obviously, if you add a reverse to that track, voices, everything that passes through that group track, it's going to sound with reverse. Let's try it, for example. In the same way I can connect the second track, for example, to that group track. Obviously it will sound with rever two, I mean these two tracks are connected to this group track. The group track will appear in the mixer. You can see the track here with the green father below. It reads the name voices. Remember that this group track is connected to the output track, that general stereo track of the project. Let's si***ce the first track and we will record on the second track. I will change the auto time clips, they don't play at the same time. Let's check this out. Pro Perfect. You already know how to add tracks to the project. All this knowledge is very important to be able to better order your work and make a better sound design and even musical mix. Remember that you can use defect tracks to save computer resources. Remember that once you create defect track, you can add defect to the right panel on the track properties. But there are also other tracks, which are the instrument track and the media track. But we will not see them at this moment because I want to explain to you in the middle lesson. You don't forget this, but basically the instrument would be the contact, which is the one that generates the sound. And the media track is where the instructions are, that instructions of how that instrument should behave. On the other hand, there is also the time track, the tempo track, which works especially for musicians, for music to have the musical time when we are composing media music or also recording music. Finally, the video track. On this track, we will be able to add the reference video we are going to use to make the sound design. We can move this track as we want. Obviously, this track is connected to the video screen that you already know. Try to digest the information, review again and put it into practice until the next lesson. 9. Adding a video and Summary: Perfect. We are here again. Now we're going to learn how to add a video file inside the vase to have an example of how that reference video will look in our tracks. This is fundamental to this course because it's a sound design course. I'm going to collect the video file from my folder. What we're going to do is just drag that video file into the vase. Pay close attention to this, because on the first stride, it will appear that the software doesn't accept the file. So pay attention that I'm holding the file, but Base gives me a signal that I'm not able to add it. It turns out that it's specifically in the area below, in the time line where I can drop the file. Then immediately a video track and an audio track are created. The particularity of this audio track is that it is ster one. Why? Because obviously it's the audio of this work. This work is a short film for which I composed a soundtrack. We can move these tracks wherever we want to work more comfortably. We can check how it sounds. I usually put the video reference always on top so that the video is not crossed in the middle of the tracks. So let's check this out. Obviously, we can now activate the video player, which is the screen where you can see the video that is on the track. Here's something important that I insist on. Again, it's important that this video file is not heavy. I mean, it's supposed to be very compressed, maybe an M before with low resolution, just enough to see the reference video. Especially for those people who make music. This is essential, possibly that catalase perfect. Another important detail that I wanted to show you is that you have the possibility to edit the video if you want. For example, if we had some sound effect or in the case of musicians make a search and composition or musical beat that inevitably lasts longer than the scene and there really is no way to change that. You can use the scissor tools, cut the video that each move the shot to where you want. Generally, this is useful for musicians, so we just go to these tools that are up here and select the scissors encode where we need to. It's quite similar to final code or any video editing software. Remember that once you cut, you are not deleting, you can stretch the files and recover it. Again, I explain this like this because I know that some of you are beginners, so you can use other tools like the eraser. And actually we can use this tool to mute some cross sections or the entire audio clip or video clip. The most important thing is that you lose your fear of using the tools since it's about using dose. It's also important to know where the essential tools are. Some people tend to memorize automatic commands so you can activate a function automatically from the keyboard. And that is the enemy of knowing how to use not only software, but also becoming a good versatile editor that is capable using any software. Almost all digital audio workstations work under these same principles. It's important to know these principles in order to face any software without fear. Another important detail that I wanted to show you is that you hear what the stereo audio track sounds like when we put it on a mono track. Let's check this out. Now, listen to the difference on the stereo track is possible. Second, it's important to recognize this. It doesn't happen to you while you are editing and you get confused and think everything is sounding and wrong. Let's recap everything we have seen quickly to refresh our knowledge and be prepared, remember how important the studio tape is. The first property is audio connections, where we are going to see the audio inputs to make sure they are connected. As we checked, remember that the input and output of your interface will appear here. But I think that it's enough to know that simply the inputs or outputs are never enough connected. The next big thing in the studio tape is the mixing console. So we go to the studio tab and open the mix console. Remember that all the tracks of our project will be here to be able to control the volumes easily. On the other hand, remember that there will also be the input tracks in the general output track, the stereo track, as well as the fix tracks and the group tracks that we saw previously. Those group tracks which are connected to the stereo general track. The following is a step login manager. This tool allows us to be able to make sure which are the plugins that are installed in the system. As I told you to know which are the folders where we must install the plugins when necessary, especially when you get the plugins for free, and sometimes it's difficult to install them. This tool allows us to know if they are installed properly. The following is the BSD instruments tool that allows us to know which are the media instruments that are connected to based, which in the case of this course we're going to use contact. We will see contact later. But it's a software to work media, especially media Music, But it also works perfectly for sound design. But as I told you, we will see that later. The following is audio performance. Remember that this tool allows us to know how the computer's performance is, especially when we load many plug ins at the same time. Remember that here is also the video player that is connected to our video tracking the project. The reward is used to connect other software with the base, such as the recent software for example. But there are also other softwares like pretty loops, for example. Finally, the studio setting where you will be able to configure the audio interface with the base. This would be a general description of Vas, a summary of the most important and main characteristics. To be able to start working in it and to better understand the course, any question you may have, you can reach me out. But remember that we will continue to see many things about Vas as we progress in the course until the next lesson. 10. Cross Under the Moon: Perfect. Here we are again in the digital audio workstation base. We are ready to start this project, which is a short film. It's a completely professional short film. As I told you, the idea is to create the sound design of some of the scenes. If we're going to start by addressing the first scene of the short film, the purpose of this lesson in the following lessons is to make you understand that you are able to do a completely professional sound design by using resources that you are able to find an internet serving the internet. If we're going to create a sound environment in every single sound out of the scene, let's watch the scene first. In fact that the scene has a soundtrack and music, but this time we are not going to work with music. But I'm going to show you the scene with music to explain to you what we are going to do and what should be included in the sound design. Remember that all sound design is based on our sensitivity to feel how the image sounds, or how it should sound to the audience. Let's watch the scene then. In this scene, you are supposed to hear a naval battle in the distance. What we are seeing on the screen are the remains of a shipwreck on a beach on an unknown island. In other words, while we are seeing these remains, the battle continues in the distance. What we must create is that whole atmosphere of the battle in the distance that it feels like we are listening to that battle in the distance. But obviously, we are on the coast of an island. The sea has to be heard. To pay attention to all the details, you must learn to detect small details. For example, the size of the waves, how many waves collide with the character, and how many steps the character takes, even how close or far the character is from the camera. All these are very important details to create the sound perfect. This scene ends here, so we already know what we have to create in terms of sound design, but now we have to look at the scene again without music analyzing what specific sounds I need to create. That, because we are supposed to search for those sounds on the Internet or only select them from a sound pool. Reach enough in sounds to build these. So what do we need, for example, for the battle? For example, if we didn't have the full sound of a battle, we would need soldiers, cannons, et cetera. Additionally, we need the sound of the sea in the distance. Not to mention that the most complex thing is the arrival of the character, where we will need waves, splashes. We need the sound of cloth in the water. There are several things. We also need the character's expressions because when the camera gets closer to the character, we should be able to hear their moans and pay attention to something important regarding the sea. When we listen to the sea, we are not only hearing the wave that crashes against the coast, but the sea in the distance is also sounding. In other words, everything we hear is the result of the mixture of near and far waves at the same time. In that sense, one of the skills that the sound designer must have is to detect the layers of sound. In all the images, there are things that can be heard farther away and closer. But above all, we have to know how to detect how far and how close things sound and the correct reverberation of things. In fact, reverse is something that we will address in more detail later. But what matters is how we detect the correct layers of sound. Because we must train ourselves, especially if in the future we want to do a sound design and surround 5.1 Remember that we must create a sound bank. This sound bank must be updated all the time with new sounds. Every sound designer should have one that contains phones of all kinds. I mean, sounds recorded by yourself and other sounds that you find on Internet. For example, this bank that I have here is at least 50% taken from Internet. You can create your own bank. There are 1,000 of free sounds on Youtube that you can use. No one is going to complain about it. Now, if you have the portable recorder that I mentioned, even better, you must use it to record sounds all the time. That is the idea. Remember that you must have a good microphone. These recordings are of true quality. Remember that in sounds like the C, you need to reach the entire sound spectrum. I mean low frequencies. What is the first thing we're going to do? Well, we're going to choose the sound of the C, that sound we are going to use. We're going to our folder to find the most appropriate one. This is a folder I have all deep waves near and far turbu***t C. Several sounds and they are all from the Internet. I am telling you this so you can see how far you can go using Internet resources. In the end, it doesn't matter where you get the sounds from, as long as they have quality and the sound design is good. Let's now see how many tracks we need to add to create the first scene. First, we need to add the necessary tracks. Remember we go to the project tab. We select a track and we must pay attention that the track is set in stereo. Why? Because the audio file we are going to use is in a stereo. That battle sound I have is in stereo time. We're not going to focus on the battle because it's something that we will see specifically. In an example later. I already have the sound of the battle. Here we have our track for the battle. So now we're going to add the track corresponding to the sound of the sea in the distance. This should also be set to a serio. This is an important detail due to the man city of the sea. If you had the chance to record the sea, you are supposed to do it using two microphones here. I'm going to add another track of the waves hitting the shore. I'm actually going to add another track of waves hitting the shore line. But we also need the sound of the character heating the water. We need a splash sound to create this. Once we add the necessary tracks, it's time to know the panoramic point of view of the sounding scene. For example, on this scene, if you watch the image, the beach is supposed to be on the right due to that slight slope that can be seen in the background. Therefore, the battle organ ad should also sound on the right. Maybe you don't notice that is to the right at first. But as we move forward, when we reach the silver plate, the reflection of the sea makes us understand that is to the right. But this panoramic direction only corresponds to this initial sequence, because it has more or less the same shots. But the following is a bit tricky, because in the next sequence, where the character is coming out of the water, the shots change point of view several times. In other words, sometimes the C is in front, slightly to the right here, for example. It changes to the right completely because although it's to the right, it's so close that it must be felt from the front. Look at this another shot where the C is on the left. Here it's on the right because since the character is supposed to have already come out of the water, the C should be heard on the right, but a little farther away. This really seems very obvious. But after watching movies and sharpening for so long, I realize that it's not obvious. This is one of the fundamentals of sound design, even here. Later on, the story enters another sequence where the natural laws already changed because the characters falls asleep and begins to dream. Look at everything you have to pay attention to before starting to edit or even add sounds. It's practically creatively ordering what we are going to do in the edition. This is part of the sensitivity that you must develop to build a soundscape. We're going to leave this lesson after here and move on to the next one, where we'll start adding the sounds. 11. Sound of the Big Waves: Perfect. Here we are again. Let's start adding the sound of the battle. I already told you that I had the sound of the battle which was already done. And I'm going to drag it up here right on the battleship track. This sound has a kind of loop, so we must cut a single portion with the scissor tool that you see above. Let's hear that battle sound here with the scene, we must place it right at the same time as the image. Do you see how the scene of war begins to field to the remains that are on the beach and the sound of the battle. But what is the detail that we must do so that this sound environment works? We must span it, as I mentioned, to the right, because despite the fact that the sound is interior and there are elements that sound from one side or the other, we must try to push it more to the right, because the scene requires that we must look for this over the track. In order to open the track properties, we must go to this little vertical bar that is right here over the volume father ****. And this tool allows us to control the pending of the mix, which in this case is the pending of the track. So we can move the pan to the right or the left. In this case, we need it to sound slightly to the right, but why not completely? Because we need the sound to be surround so that it fills the entire sound spectrum. We must let it also sound a little to the left. An important detail before moving forward. Move the audio clips on the track. There is a tool that allows us to have more precision. This button that is above and to the right, this one. If I activate that button, the clip will adapt to the musical measures of the base project. That is something that doesn't concern us at this moment because we are not editing music. But if I deactivate it, I can move the clip to the exact time that I want in the mix without limitations. If I activate the button, notice how the displacement of the clip adapts to the bars. Actually, you can see the musical bars 6789. This is so because in case you can compose professional music, it's very important to know this. Because sometimes we activate it accidentally without knowing, and then we don't know how to deactivate it and we waste a lot of time trying to figure out how to fix it. Let's keep listening to how it sounds after panning the battle sound of it to the right. It's interesting because as it is a sound environment of a battle in the sea. The sound of the water of the ocean is also noticeable here at this point, where the cannons begin to sound louder, we must lower the volume because the other part of the scene that comes after the silver plate begins, we must chop the audio clip to reduce its duration. We go to the Caesar tool to chop the clip. Remember this tool panel up here? Then we need to pull this little white tap to the left. It's like a little triangle in the corner. To the extent that we are pulling the small triangle, some curved lines appear in the audio clip that are the fading of the sound. At the end of the clip, it's a fade out. You can pull that tap as far as you want and you can also play with the size of the audio clip to see where that fade out will end up. In this case, we are doing this so that the sound of the battle face as the other scene appears, where the characters is coming out of the water. Actually, we could leave some of the sound of the cannons in the following scene, but in reality, cinematically, there isn't a ellipses. Ellipses, in the language of film writing, is a narrative leap in time. Then the cannons are not supposed to keep sounding. So the idea is to gradually fade the sound of the cannons until the sound of the beach comes in with more volume. Of course, you will always have to work on these types of guides and instructions together with the director of the film or short film. In fact, we have to cut the canyons much sooner. Right here, the sea should enter the scene. The sound of the sea. Remember how I explained before, even if it's the sound of the beach, there are two layers. The sounds of the waves hitting the shore and the sound of the sea. In the distance, we are hearing things at the same time. I mentioned to you that the creativity of the sound design lies in those details. Those details are not obvious. They seem obvious when you explain them, but they are not obvious when it comes to creating the sound design. Let's review then the sounds that I already have from the beach here. We note that it sounds quite good. It's a sea that is not very strong, but let's check another one. Notice how interesting this beach sound is. It's a beach sound in the distance. It's deeper, it has lower frequencies. That is why I mentioned to you that we must develop that sensitivity to sounds. In fact, this is a stronger than the previous one, but it's heard from a distance. We're going to check the entire audio to see if it doesn't change too much over time, and we notice that it doesn't. We're going to start with that sound. We're going to add right here on the track, distant C. I'm going to add them first and then order them. We already have the sound. We already review it. It, since we don't need the complete, we are going to cut just a piece of the C sound to put it right where we need it. We already have the sound of the distant sea. Now we are going to look for the sound of the sea hitting the shore. To add it as well, this sounds very good. Let's add it at once to vase so you can see what we can do. I'm going to check other sounds more. This sound is also very good. The waves are softer. Then we will use other sounds of water, the splash, et cetera. We are going to test the sound with the image because the image itself should always be our guide. Pay attention to the detail that when the image of the solder enters, just at that moment, a wave hits the shore. We're supposed to find a piece of that audio of that sound that can match that wave. If we double click on the audio clip, it opens in a new window from a closer view to see the sound waves in more detail. But I think it's better to do it directly in the vase timeline here, where the tracks are directly. So I'm going to put the audio where the wave appears to see if it matches, so there's a wave. I'm going to bring the audio closer. Little by little here the wave hits the shore. So we must cut the audio portion. We must fade out the audio portion that we cut so that the next wave of the original audio doesn't enter. In addition, it should b***d in with the sound of the distance. Now we're going to do the second wave. We just have to cut one more piece of audio that has a wave, but there is a detail to take into account. That second wave that we are creating is different than the first. It's softer and the shot is closer. We need to start by setting up the track for the first wave that is bigger so that it really feels bigger. In the mix, we must add a parametric equalizer to the track. I'm going to select the classic tax equalizer which is a parametric one. The parametric ones are those equalizers that have like a graph in the middle. You have to be careful not to get confused because the graphic equalizer is different. The graphic simply has faders on each frequency line. This is a parametric equalizer. This is the tax classic equalizer as I mentioned. But you can look for the one you want on the internet. There are many good ones out there. The advantage of these tax is that it's a suit, that is to say that it comes with many plugins, reverse delays, plugins for mastering et cetera, which we will use later. Since the first wave is bigger and heavier, we must increase the low frequencies of that wave. We must try to be sensitive with this slightly moving the frequencies until it sounds adequate enough for us. With this issue of frequencies, I wanted to mention something important. There is no specific frequency for a type of sound, because not even human voices are completely the same. There are higher voices and there are lower ones. The same thing happens with this wave. This wave could be more acute, it would have to be modified much more. It's better to learn to develop that sensitivity, to detect that something is sounding right or wrong. I'm racing that low frequency area because my experience when I hear it, tells me that it can be there. But try to be very careful with disposed theories in this regard because I ran into this problem a lot recording with engineers who spoke like audio experts talking about calculations and spectrum analyzer and they always fail to find a good sound. Let's check the sound of the wave with the image stem. I'm going to lower the high frequencies of it as well, even to reinforce the sound of the wave. We can modify the sounds of the distance. We can chop the audio portion that is playing at that moment and increase the volume. We can cut just right here. Until this point, I explain to you how to fade in and fade out with the small white taps in the corners. But if we see right in the middle, there is a white one, that is a small white square. Keeping the square press and moving the mouse up or down, we can modify the volume of that portion of the audio clip. Doing this allows us to feel that the wave carries more force from the C as well. Pay attention to this other detail. I have cut the piece of audio to make it coincide with the wave. I have overlapped the audio clip with the other parts that remains. But we should not leave this like this because the cuts will be heard. So we must select the area that we cut. Press the X so that a dissolved transition is made. Did you notice how now the wave feels heavier? The final sound of the wave is the product of mixing two different wave sounds perfect. We are going to leave this lesson here and we are going to finish editing the C and the waves in the next lesson. See you there. 12. Sound of the Waves: Perfect. In the last lesson, we had finished our big wave. We already had it ready. Here we have. The next wave is smaller, we must make it going as well. What should we do? We must divide the wave clip into two parts so that it exactly matches the duration of the wave that we see in the image. We are going to chop the clip the same way as the last time man, but unlike the previous wave. From the point of view of the shot, this wave is coming from the right. This is very important here. Most people make mistakes. We must make sure that the pen must coincide with each shot of the sequence. We open the track properties and move the pen to the right. After finishing that wave, we are going to copy and paste this. So we are going to ***gthen the ado clip to try to match the sound with the sound movement of the character. We are not going to pan it for the moment. We just want to test if the sound of the wave can work for the character. Remember that to copy and paste Audet, copy and paste by pressing control C and control V. In fact, what we have to do is lower the volume so that it looks like the contact that the character's knee makes with the water on the shore. In fact, we are going to do the same as last time. We're going to use the little white taps to lower the volume of the Ode clip. Remember that the small triangles on the edges are to fade in and fade out. And the smallest square in the middle is to raise and lower the volume. Here comes another shot where the character is closer. This is also supposed to be an ellipses. We must cut all the audio clips, because obviously we are going to have to pan the audio again. The next thing is to make a track to be able to generate a new point of view of the distance. But we could do this also by duplicating the track. We just click on the distance track. Then we press the right mouse button and select Duplicate. This allows us to have the same track with the same audio eclipse. We just need to press Duplicate. Once we have the new track, we rename it. What we are going to do, we are going to leave only the parts of the distance audio in the parts that we need. The rest we can delete. What we're going to do is to see in the image when the distance is to the right or to the left. And we are going to leave the respective parts in each track. If we need to create another track, we do it. Remember that at the beginning, the C was pinned to the right. But when that first strong wave enters, the C panning turns in the middle. In this shot, the panning returns to the right. Try to pay attention to the fade in and fade out. As I taught you, the pants are placed into the air. This is the correct and professional way to do it. To recap at the beginning, the C is to the right until we reach the silver plate. Then the C is in the middle, that moment of the strong wave. Then the pan back to the right. Remember not to fully pan the tracks. Do it slightly so you don't lose the surround. Sound Here the C is to the left. Although it could work from the front as well. In reality it's to the left. But I would change it. That is, I would create another track. To set the specific pan to the left, I duplicate the track. I must let everything that is not pan to the left to leave only that small part. Let's give the track a name to identify it. Let's erase what left of the distance up here. We let the new truck go to right here like this. We have the distance to the right again. But since it's another ascended to the ellipses, we must lower the volume of the distance. We fix the transitions here too. That is to say the fade in and fade out. That transition has to be smoother at this time. Remember that to soften the transition simply by ***gthening, we can achieve it. I mean that fade in, fade out. The other reason why the distant should be less allowed here is because the soldiers gestures should be heard more at this time. Perfect. Let's take it then from the beginning. At the beginning, we could better combine the sounds. Make a cocino so that the battle is heard first, and then the C enters slightly, actually. In this case, the intra depends on the director's taste. That is, on what the film director wants to have in the audio. You have to work hand in hand with them. Notice how I lower the volume to the clip. Only remember to make the transitions of Aud Eclipse. By pressing the X. It's necessary that these transitions are not noticed. And if they are noticed, it must be deliberated. Perfect. We already have the sound of our beach almost finished, but what is missing? The sounds of the soldiers contact with the water, But we will see that in the next lesson. 13. Sounds of Water: Hello again. What are we going to do now? Every time the soldier struggles to get closer to the shore, that must be heard. His contact with the water must be heard. However, the sound of his gestures coming out of the water, that is to say his tire voice, for example. At this moment, it doesn't matter because the sea is supposed to sound so loud that the voice shouldn't be heard at that moment. But there is an exception, only in the shot where he turns around and we see him. It's important to hear his voice, his gestures because the scene needs that because we are watching him coughing, et cetera, and the sea is not visible in that shot. But in the rest of the shot of the scene, we must add splash sounds in order that the contact of the soldier with the water is felt perfect. I'm going to open the audiophile. I found this on Internet. For the splash sounds, you can listen to it. Perfect. I'm going to drag the file to the base to add it to the splash track. The idea now is that we listen to it while looking at the scene, it's able to lower the volume so that the sound is further felt. If you can notice the splash sound is a sort of beach like background and this makes it interesting too. We had to be very attentive to the image and sound so that they can match. We had to find a splash that isn't too strong because his hands are partially under the water. Did you notice this? Did you see how good that part looked? The job is that we must extract each of the sounds that is cut the audio clip movement by movement until all the sounds are found. The interesting thing now is to listen to it with all the mix, all background ambient sound, Just as we found the fierce splash sound. We work one by one. It's a hard work actually, but at the end of the sound design, it's worth hearing a job well done that, it really sounds like the movies too. By doing so, you will gradually develop the sensitivity of sound design. Remember that as the character comes out of the water, there is the less water. A Notice that it's not only about putting the splash sound at the right time, but also playing with the volume to make it sound farther or closer. Here in this space, we must add another splash. Maybe we don't like the first one we select so we can look for another one. In this case, this audio file has several splash sounds, so we have to search until we find a suitable one. That one is interesting. It sounds good, but I think it's too soft for what we need. This one is much better. You notice how little by little this sound design is being built. Look back at the leg. It's necessary for that to sound. That leg must be heard. It's a hard work, but it's important to do it very well. Very important because if we recorded the live sound of that character, that C would be heard so loud that would be impossible to capture the sound details of the character's contact with the water ring is interesting because as we progress, the result motivates us. Do you notice how well it sounds with the scene? What we are going to do? We must duplicate this track, because in the same way as we did the sound of the scene, we must plan each of the details. They make a complete match with the image. For example, in this part, the characters comes from right to left. We must leave a track on the right side and one on the left leaving each splash sound where it corresponds. Remember to delete the clips on the other track that don't match the side and move on. Notice that here the sound continues to the right up to this point where the shot changes. We then delete the clip on the right track above and pan the other track to the left. And here we continue listening to everything the same until the end, deleting the eclipse. Because the rest of the splashes are on the left side. I mean they are heard from that point of view. Let's listen to it now from the beginning. I'm sure you love how it sounds. Very real. Let's hear it from farther back. Sounds good, right? There are some sounds missing here from the arms when he is crawling. But I'm going to finish them later. But for now, we're going to continue advancing until the next lesson where we are going to see the sound of the fabric until the next time. 14. The Sound of the Cloth: What are we going to do in this lesson? We're going to add the sound of clothes. This is important to give more shape to the sound that it sounds more real. Especially it sounds like the sound comes from the character. I already have some sounds that I found on the Internet, some odors where there are Robin fabrics, but all these sounds are on the Internet. But if you have the portable recording device with the microphone, you can record clothes by your own, you have clothes and you can record the sounds in order to use them later. The people who recorded this audio you are hearing did that. They simply recorded the fabric and uploaded it to the Internet. Listen very carefully. It's very interesting. But listening to this, your mind opens when you see the movies. From now on, it's a new point of view because when you see scene where you listen to the fabric, you're going to say to yourself, oh, this is how it's done. Now I understand it, and that is very important for the sound designer. Listen to the sounds like making the bed. Listen to this other, because we need these sounds. When he is coming out of the water and lying in the sand, listen to this other sound. It even has a ser, we're going to use the first audio we checked to add the sound of the fabrics. I already edited a small part to show you how it sounds. Let's say that to advance work and learn faster. Let's listen to that small part of the image. I'm going to turn up the volume on the track that I've already created for the splashes. We're going to listen to it, we're going to look for the exact failure. This track, we close this, we check this out. Did you notice it? How interesting it is? We can play with the volume in order to make it sound much real. I mean, we need to make it sound organic with the rest of the mix. But we are going to add other fabric sounds in this other part so that you can see how the process is. Especially since this part has the C two, we are going to use the exact same audio clip that we used in the shot later, but we are going to use another portion of that audio in a different position. We had to be aware that we cannot always use the same portion of sound within the same scene because it can be noticed if the scene is different, that is, in another part of the short film or movie, it doesn't matter. In that case, we can use the same sounds, but never within the same scene using the same audio clip. I'm going to select a little different part. Remember that you have to be patient. They are very subtle sounds. In the case of clothes, here I already have the portion I need. Let's listen to the sound of the sea to level the adio the volumes there. Even if you don't notice it, the clothes are sounding. Only the sound of the sea exceeds the sound of the clothes. But we can increase the volume until it's more noticeable. And I'm turning up the volume directly on the clip. Like I taught you in this past lesson, we can add that clothing sound in all the parts we want. For example, in all these initial parts when it comes out of the sea. Let's listen to it again, isolated and try to be open to what you are hearing. Maybe a certain part of the sound of the water, sounds like the cloth, like the fabric. So we don't need to add more sound to that part. So that kind of thing usually happens because in the end, the audio is abstract. So we don't see it visually, we just listen, right? Well, this is the end of this lesson on fabrics, on clothing. We are going to continue seeing much more of this kind of thing, but for now we're going to move towards the actors expressions to provide seeing more realism. We're going to do it with a previously recorded dubin to add it to the mix in the so far this class until the next lesson. 15. Groaning Sound: Perfect. We are here again. What are we going to do now? We are going to add the actors gestures, some vocal gestures, especially in that part where he is seen more closely, which is at the end of the scene. We could also include it at the beginning when he comes out of the water, but it's not necessary because the C actually sounds very loud. So we're going to add the a, another stereo track. Here's an important detail. I'm going to create a stereo track because it's a voice recorded in mono. I supported it in stereo. Therefore, the odio file is in a stereo. The track, where that file should be in stereo. We're going to create the track and give the name. Pay attention to this. The interesting thing is that this dabbing odio doesn't exactly belong to zine. It belongs to a later where my Tac pain and indigenous G is healing him. But since I'm doing pain gestures, those gestures work perfectly for zine. In the same way as we work on editing the sound of the clothes, we are going to cut small portions of gestures that match what we are going to see on the screen. So we had to cut a piece that matches when I crawl, and also especially when I spit water and cough. Let's listen then and try, for example, if you noticed when I turn around and have to cough at first, it's perfect when I call, but when I spit out water, there must be a sound that represents that. But if you notice it in the co, several times in a row and in the scene I cou once. Then what we had to do is to cut one of the times I cou and paste it in the right place. We're going to look for the exact moment where I spit out the water. And we put the piece of audio there. Notice that I gasp after throwing out the water, but that gasp goes later. I need to extend the sound of the sea in the background a bit more here. I cough again. So we are creating all the micro gestures, obviously, even if water comes out with the need to add the sound water, because that amount of water is not supposed to make noise with the sand. We have to be quite detailed. Selecting the correct gestures. Did you notice it? Obviously, I'm cutting, testing and leaving the parts that I like. Actually, this is a job that takes more time than this lesson. But I'm showing you how it's done that you are aware that is the same thing that we have been doing in the prior lessons. I mean, we overlap audio clips at transitions, adjusting volumes of each, small portion of audio, et cetera. So let's listen to it now with the background. Sound Pay attention to this. Here the camera does a kind of line. That is the camera approaches the character, the same change when the camera is far away. Everything is supposed to be quieter. So we need to lower the volume a bit directly on the audio clip as the camera approaches torn it up. Remember how to do it in the little white tabs, we must lower the volume until you feel that distance perfect. We already have this part finished. As I mentioned, we're going to add a little panting when the character is coming out of the water. Personally, I think it's not necessary because the C is supposed to be heard louder than a time voice. This small part can be useful. Remember that if we hear a repeated, we delete it, and that's it. We already have the panting portion we need, and we're going to add it right in this part. But we need to do something first. We must duplicate this track, because in the same way as with the other sounds, the character is coming from one direction. That panting has to be heard from that direction as well. Remember that it's not the same here, for example, where you see the Ac from the front to point of view to this other part where the Ac is coming out of the water. We duplicate let the clips that are on the track above, we change the name of the new track and in the part that we already did, we delete all the clips from the new because that part should be heard in the middle. Remember that the new track is going to be heard slightly to the right. We're going to open the properties and we're going to the pending to the right. Once we have the track slightly to the right, we start trying to match the image so that the sounds look like the characters movement. Let's try then. Do you notice you have to match the movement with the panting facto king? Remember that it is a very delicate job. Had to be very precise. Perfect. Now let's listen to it with the background sound. But as I told you, the sea must sound much louder. The panting must be heard in a lower volume. So we are going to lower the volume a little. You can go listening and changing the volume of the track. I mean, the idea is that you can barely hear the voice. Actually, I'm quite excited. When the sound design is almost ready, the scene begins to feel like it's alive. We're going to listen to everything from the beginning. Let's check this out. Everything from the beginning. Do you realize how good it sounds? It sounds like what we wanted, of course. We can now listen to it with the music to make it sound even better. Let's take it out. Here is a little jump in the music, but it doesn't matter. It's just so that you can hear how it would sound with the music. Perfect. Later on, we're going to experiment with the contact to add a little more power to this scene. But we will do that later until the next lesson. 16. Cross Transitions: In this lesson, I'm going to explain in depth the topic of transitions between the old eclipse here in this part where the music is, which I clarify is not intended to explain anything musical, but to make you understand how cross transitions work. Because sometimes we get stuck there. The idea is that you can create a cross transition whenever you want without any confusion Whale working on base. So you're going to use this part of the music as an example. I told you that to make a cross transitions you had to press the X, that is to say overlaps the clips, and then press X here. I'm doing it so that you can hear clearly how it sounds like this. We don't feel the transition dirt, I mean, we don't feel that there is a cut because it's a cross transition. But the problem is what? This happens when there is a fade in or fade out in the clip, and we overlap it with another clip. If we do this, there is no cross fade between the two clips, simply when the time line reaches the clip with the fade in, which is this case the previous clip will stop playing the one below, then the clip above will begin. You noticed at this moment the clip stop playing and went to the clip that is above. It's necessary that there is always an X so that there can be a perfect and fluid dissolve between the two. Clip. Explain this to you. Because when I started using vase, it caused me problems. Right now, it seems very simple to me. But I know when we are starting to use base, not everything is as simple as it seems. If we want the clip that is above to be the other one, that is the first one, we must press this small tab that is below, and select the other clip. There's the other clip above. We can do the same but in reverse. That is to say, make a fade out and overlap it with the other clip. The clip will then softly stop playing and the other clip will immediately enter without a transition. You notice how it sounds. Then remember how to change the overlap of clips simply by pressing the tab below. There we select which the clip we want to be above or below, as simple as that. In order to create a cross dissolve, we had to remove the fade in or fade out of the clips. Then we overlap the clips that look like this shaded, and then we press the letter X on the keyboard. There, there is a perfect cross transition. Try to be very careful with this. The most interesting thing is that all digital audio workstations work on this same principle when it comes to editing all Eclipse. So let's see everything from the beginning. One more time, 0, perfect. So far this lesson and we will continue advancing in the course. 17. Some Environments: Perfect. We are here in base again to continue editing this work and continue learning sound design. This time we're going to work on a couple of scenes that have voices. There are not too many voices, but these voices go over an environment of a atmosphere. This will allow us to understand the nature of how to edit a voice and make a sound design. We must begin to create the environment, the space where the characters are. We must do this before tackling anything else. So we're going to look for the environment first, which in the case of the sines is also the sea nearby, but this time much farther away. I'm going to select some old file that I have here in my sound backup. We need the sound at the C. Remember that all these sounds like there's no excuse for not being able to do this job. The particularity of these scenes in which we are going to work is that, for example, the first one is a dream, On the other hand, the second, it's not a dream, the C is quite far away. It's interesting because we're even going to add other elements of the environment related to the sea to create a convincing atmosphere in the scene. That is basically what we are going to see. In this lesson, we're going to look for the sound of the Sea. I'm going to select, for example, one of the old files that we are using in the other scenes. With the difference that we have to modify it. I'm going to add it but on a completely new track so that it has a completely different equalization. We will be able to create the effect of the sea in the distance better. I create a new track and give it a name of environment. We move the track up by pressing on the track and moving it, that doesn't affect the sound at all, it's just the order. We already have the audio file here. And what we have to do is now divided because there are two scenes here. The first scene stars, then it goes on and on and on and on until the character wakes up over here, Just right here, right here. In this part, we cut with the source because another scene begins this in continuous and goes on until the girl is fishing. We cut again. Here is the scene with the girl fishing. And right after another scene starts, we use source again. One of the reasons why you have to have enough Ram in your computers is because you are going to have to make several audio tracks with a specific effects. Each effect consumes a part of the memory. It's something that we are going to do too, because in each of those parts that we just cut is the background of a specific, a scene that should have its track. Here, I have duplicated the track so we can change the pining of the background, just like we did in the past lessons. We're going to start with that. A scene that I told you about, which is a dream. Actually you are hearing the sea at this moment. But I have to turn the volume down because obviously the sea has to be heard far away because this is not happening so close to the sea. But additionally, the volume is not the only tool that we must use to make the sound far away. Because the truth is that sound waves in nature have a specific behavior. For example, low frequencies have much more energy than the high ones, therefore they travel further. That means that the C in the distance should sound with lower frequencies than when we hear it up close. We can use an equalizer to create that sound effect. I'm going to use the equalizer on the track where the C is playing to lower the high frequencies of the sea and create that effect of the sea in the distance. I'm going to lower the high frequencies and you're going to listen to the result. You notice how the sound changes significantly just by suppressing the high frequencies. And I'm not turning the volume down, I'm just modifying the frequencies, high frequencies. That voice that you hear in the background is the voice of the girl in the dream. She is speaking in the native language, Mayes language. Of course, when the sea appears closer on the screen, we can modify the sound of the sea. I'm going to move this cross section of the sound of the sea to the other track to have two different sound point of view. That is precisely the sound design. It's to do this work with details and of course to imagine the possible solutions to the chal***ges of the scene. We must pay close attention to the fade in and fade out. They must be very short because the sudden change from one image to another is somehow felt. I mean, there is not a cross dissolve between one scene and the other. The change is direct. I would say that we should only the ends or the beginnings of the old eclipse. Depending on what the case is, try to listen that the change is somehow sudden. That's how it should be firmed, because the image changes. In this part, the C is far away. Again, I left the sound on the track above. The only thing that would have to be done is to set the same volume as when the scene started. I think it must be less volume. We fix the fade in and fade out in the same way. Actually, all the sound design goes with a track. But we are not working on a soundtrack. We are creating the sound design. We are supposed to focus on the sound in the sound environment. Sometimes the beginning and the end of the clips are tricky. You had to work carefully here. The C sound goes on, but just right here, the sound changes because the point of view changes. We have this track set in the center in terms of panning. But when we reach that another shot, the point of view changes. We are supposed to set the pan to the right, although it's the same scene. The shot changes, we must duplicate the track in order to solve this problem. We'll rename the first, because that is the main one. I'm going to name another track. To the left is the same track but pant to the left. I'm going to delete this AudioclipseI'mI'mingleave, the cross section that I need and just right here as the sea is nearby. Again, we can move this cross section to the other track below. If we continue advancing the right at the scene where they are eating, we are going to address that the scene later on to edit the voices. But the thing is that in this part, the atmosphere of the sea must also be heard in the distance. We need to lower the volume a bit perfect. We already have our sound environment quite good. We can lower the volume even more to make it sound better. You can even automate that volume with the pen tool. With that tool, we can mark points to raise and lower the volume throughout the audio clip. It's a very useful tool. Additionally, if you want to end down that automation curve, you can go to the audio tape and you can press Remove Curve. We're going to leave this lesson here, but we are going to continue advancing the other sound elements that are going to make the environment feel more real until the next lesson. 18. Seagulls Fauna: Perfect. We're going to continue working on our sound environment. Since we are on the beach, it's supposed that there must be a fauna on that beach. That fauna is part of the sound environment. It's supposed that there must be seagulls on the beach. In this short film, there is a part where some seagulls appear. It's natural, but since the sea gulls must be in the place, even when we are not seeing them, we must add them to the sound dimension somehow. I have to add the seagal sound in the first sense before seeing them visually later. This must be done with the purpose of enriching the environment where the dramatic events of the story take place. I'm adding another track for the Eagles. Sound The track is below. We get it up to right here. In addition, we are going to play with the audio file we're going to use because you can modify them as you want in order to have the specific tone, a specific nature of the Eagles you want. I'm going to turn the volume down, but personally, I wouldn't place the eagles at the beginning. I would place them at the end. At the end of the dream, when the character wakes up, we need to find a little section of the seagull sound that suggests that the seagulls are passing by and that they are also flying away into the distance. We are supposed to focus on a very subtle sound and place it alongside this shot. We need to add a fade out to this audioclip to create the feeling that the sea gulls are moving away as if they were passing by. But obviously, this Eagle Sound needs a reserve. We go to the track properties and we select our reserve of two racks. And I'm going to select the whole reserve. This has nothing to do with the whole of a place, indoor place, because you can modify the nature of the reserve in the properties. You can select whatever you want as long as you modified the *****, you can see over there in the first one, the mix know you will be able to modify how much reserve the amount of river you want in the clip. The second one, the diffusion is how much that rever is going to expand the size of the reve. The third one is the time it will take for the reve to fade out. Bring. Another important thing we can do with this sound effect is that we can modify the nature of the sound itself in order to have another version. We just have to go to the Odio and processes and we select time stretch. This window will be open. You just press new version, because you are going to create another version of the same file. By moving this **** over here, you can modify the ***gth of the audio file in order to modify the sound itself. As long as you set that **** over 100% you are going to stretch the sound. If the number is below 100, you're going to squeeze the file. I mean, you're going to squeeze the ***gth. It will sound faster. It's very useful and it's interesting because you can create another version of the same file. I mean, you don't have to look for another file to another sound in order to have another version. We can add this another version of the agle sounds in order to enhance the environment, the sound environment in the conversation scene. We can change the order in which the seagulls are sounding. Also, right? Do we can actually set the sound before they are talking? Since we have the Sea Gold sounds set here, we can take how everything sounds with the music only to have a glimpse of the final result. And we can also check how it sounds with the music at the beginning. How interesting it is. It's evident that the sounds of the clothes are still missing. I mean the sound resulting from the interaction of the character with the ground in his sound clothes, but we will see that later. Something important to note here is that if you were editing in Surround 5.1 the sound of the beach, and this scene, for example, could sound in the rear speakers to give that excel***t sensation, especially here in this shot when we are watching the character in front of us. But from that point of view that we are seeing him, the C is supposed to be behind us. Unlike the other shot, for example, where the C is in front of us. You must pay close attention to this while editing in stereo. Now pay attention to this other detail. I don't know if you managed to notice a low bit, that the music has is like a very low blow. This is deliberately done so that it b***ds in with the sound and sounds like the A itself. When it comes to sound design, it's necessary to create that perfect combination between music and sound. Having that unique concept allows us to have more power in the sound dimension. In any case, we're going to see all those as effects later on in the middle lesson where we are going to see those sound effects in the contact. We're going to leave this lesson up here to continue advancing towards the sound of the fabrics, the clothing sound in this interesting project until the next lesson. 19. The sound of the sand and cloth: Perfect. We're going to continue adding more elements to this sound design. In this case, we're going to work on the sound of the fabrics and the sound of the sun in the place, especially in this scene where he wakes up and then approaches where the fruit is, which is a papi. Actually we're going to add a couple of tracks to the. I highly recommend you to have order with the tracks. Maybe I'm not having it at the moment because I'm not editing a movie, which would imply many audio tracks. I don't need to have so much order right now. But since I have mentioned it, I'm going to quickly show you a strategy that will help you to have it. We're going to add a track for the sounds of the fabrics and clothes and one for the sand. When I say the sand, I mean the sound of resulting from the characters contact with the sand. As I mentioned, if you want to have an order while using many tracks, you can create a folder. The folders allows us to group tracks in the base without altering the mix in that folder. You could group these two tracks that we have created to identify. It is a scene where the character is waking up. It's a perfect example to keep in order. You can open the folder and the tracks are displayed. It's extremely useful to imagine a project where there are hundreds of tracks for a movie, for example. In this kind of projects, it's essential to use this. Even for music, you could use it only that in music there are generally fewer tracks in sound designed for a movie. I mean, is enough to mention that a song lasts approximately 4 minutes, maximum. A movie is so much longer the music tends to be more minimalist too, especially in this era. Let's begin then. We're going to start with the sounds of the clothing Sound. We're going to look for our Sounds folder or backcap'vet samples of clothing that we can use. For example, I think this one is suitable as appropriate. I'm going to add it to the time line. Look at this message that has come out. It happens that sometimes the filed is not supported by the system. I mean the file format. It's important to know that sometimes amp three formats are incompatible with the system. In these cases, we must convert the files to Web. If they are convert them into A, obviously, if the original file is a or if that is to say that they are not compressed, it's much better, the sound quality will be better. I'm going to add the footsteps Sound I mean the sound of the sand, the footsteps of the character on the sound. This is just perfect. I think we rat file here depending on the file. As I told you, sometimes base will accept or not. But if this problem occurs, there are online converters, we continue, then there's something important to highlight. Depending on the distance between the camera and the character actor, there are things that should be heard or not. For example, in this sing, the character is relatively far away. It's assumed that the clothes and fabric of the clothes should not be heard as such a volume. In other words, the clothes cannot be heard as if you were next to the character. We can subtly suggest the sound in the same way as we did before. We must find an exact sound of fabrics that matches the image, which in this case is the movement of the body. I think we already have something here. Here we have to represent the outcome sound of when he lowers his hand. Here the volume does have to increase because we see the character. You also have to have a bit of intuition. Sometimes the sound of the cloth seems like something else, for example, then this is the clothing. So seems like the rubbing of the boot against the ground. If you think it sounds good, leave it like that. Don't get too complicated. Right, Right, it sounds good. And for grabbing the fruit, we can use the same clothing. Sound It doesn't matter. I think we get it here. We have a ready cut everything I need. If you want to combine all the clips into one, you can use the glue tool, but you have to be careful. Because if you combine it like this using this tool, you won't be able to do automation on the clips because it's not becoming a single clip, it's just several connected clips. But there is another way if you have the same separate clips and you want to convert them into a single audio clip, I mean you can do automations in it. You have to select the clips and go to the audio press, bounce selection, and then it replace. This is a new audio clip generated by the software. On this, you can do a volume automation. We're going to jump right into the sound Sound, which is a complement to this meaning here we have to separate each time. Descended sounds, here, here, here, here again, and here. Once I have them separated, I can play with each of the sounds. Let's see, A, Even if you think the sound is too fast, you can select the audio section and go to the audio tab and then process and time stretch here. As we did before, you're going to expand the audio to make it longer. As a result, it will sound slower but be careful because as you expand it more, the sound will be distorted and it will lose its own nature. That is, it can start to sound strange, but it's a nice way to have more sounds. And you can start mixing the sand with the clothing. Sound Pay attention to this important detail. And this is in the character approaches the camera. This must also be represented in the sound. We must increase the volume of each audio section. As the character approaches the camera, we must lower the volume to these steps here and then gradually turn it up. You had to be very subtle and delicate with this here, we can use more clothing and sound to continue representing the papaya. You had to be very patient with this. It's a slow job, but with an incredible resort. Did you notice how interesting everything is? Let's listen. Since the character is waking up, let's listen again. A perfect. We are going to leave this lesson app to here and we're going to move on to the next one where we will work on voices. 20. Voices: Perfect, we are here again. What are we going to do now? We're going to work on voices in the last details of this scene. But in any case, we're going to address this topic of voices later on in another lesson. Most of all, to tackle the harmonic issue. That is a very complex problem to solve when editing voices. But the purpose of this lesson is to give you a glimpse and idea about how to edit the voices and how to mix them to make them sound real, to make them match with the scene. Here we have the Jones voice. There's also a wood fire over here, but we can work on this later. For now, we're going to work on the voices. I'll be Sita weather was. You might go see the here. Listen. Yes, the color cruising Lissa list to no to when goes here. You should hear the girl's voice but it was muted. Let's listen to it again. My perfect. What is the first thing we're going to do? There is second of premised, you must know regarding edit invoices. Reverberation is one of the most important things when it comes to edit invoices. And this problem is not only related with sound design for filmmaking, but also to music. One of the most common problems I came across when I was recording in the studios with my band, it was to ask the sound engineer in the studio to match the reverberation of the drums, specifically the snare drum and the voice. This was very important because it allows the music sounds in the same atmosphere. In other words, as if the whole band were playing in the same place. You can't imagine how difficult it is, but regarding this scene, there is a background music that music takes us into a specific atmosphere where we need the voices to match that atmosphere of the vehicles are sounding. The first theme we're going to do is to add an equalizer to the track. We don't need a compressor because it can break the dynamic of the voice. The compressors allow us to level the volume of the voice so that it sounds at the same volume all the time by losing its naturalness. But on the other hand, in the case of reverberation, we can play with it and modify it to make the voices match the scene. Here, I added the whole revert. Obviously there is to match there, we must remove and add reverse until it sounds perfect. Tom. I mean like this, stop, bring in that reverberation is there not only because of the atmosphere generated by the music, but because the characters are talking in a kind of caves, kind of cilic is why is to. You can notice how wonderful it sounds. That reverberation really takes the voice to the next level. Because if you see the image in detail, there is a cave. And that cave gives us a hint that there could be a reverberation in the place that reverberation is not born from nothing is in fact on that location. When we recorded there was not such reverberation, but the edited scene makes us feel that there was. On the other hand, with regard to equalization, we must take into account the type of sound background that the scene has. Sometimes there is music and we need to enhance the frequencies of the voice that the voice stands out above the music. Additionally, equalization allows us to remove the harmonics from the recording. In this case, there are no harmonics because these voices were recorded in a studio. Later in another lesson, we will cover that subject of harmonics. But at this moment, we must boast some frequencies of the voice a little so that it sounds better. With the music, we must subtly try the low and high frequencies where you can try to experiment as well. Co CPS, this is the quality. As for the equalization, we can make a smile. That is an equalization that improves the loss and heights a little to give it more presence. However, you have to pay attention to this because all the voices are different. In fact, it's a mistake to think that we can use a preset to equalize a voice that doesn't make any sense because we have to develop the ability to feel, which are those frequencies that the voice needs to stand out from the background. For example, the low areas of my voice are in this range of frequencies among the hundreds. It's never lower, but there could be another voice that is lower or higher, as in the case of a woman, for example. Actually, when it comes to doing sound design for movies, equalization is very subtle because we don't want to change the nature of the performance. We want it to sound real, like we are actually seeing the characters. We need to reinforce the lows and heights to generate presence in the voice qualities to nobody. But when here, I would say that there are too many bases, too many low frequencies. And one of the reasons why you didn't have to emphasize the low frequencies so much is because the camera is not so close to the face. In fact, if it were farther from the camera, the low frequencies would have to be heard. Let now it sounds better. Quinoa, quinto. So we had to do the same with the girl's voice. So, I'm going to add, and also the reverberation. Here, we must apply the same reverberation we did with Juan. With John, it's important to understand the parameters of the reverberation. Time has to do with the distance between each repetition. I'm going to explain it to you better. The difference between reverberation and delay is the distance between the bounces. The more distance there is, what we are going to hear is a delay, less distance there is. What we are going to hear is a kind of reverse in the case of reverberation, it's also mixed with diffusion that bounce that is very close to the original sound also has a diffusion that makes them keep sounding over time. We must experiment with this to understand the nature of this effect well, and be able to use it as we really want. Perfect. It sounds good to me. It myslunaI think that John's voice has a bit of excessive, but it's okay. We just take a bit of it until it matches the scene with the image. Of course, modifying the parameters very slightly, it's just perfect mysluna before the God glosses. So. 21. Tips for studio dubbing Harmonics: How to do a dubbing correctly in the studio. I had mentioned to you that those voices that could not be recorded on the set should be dubbed in the studio. This is not too complicated, but there is only one detail that you must take into account if you don't want to fail in the attempt. You must pay close attention the distance between the actor and the microphone and the type of shot. And this is one of the most common mistakes and why it happens that the voice of the actor with some sections must match the distance between the camera and the actor. Otherwise, it becomes incongruous. If the shot I'm doing is a conversation between two people, are seen full length. The actor in the dubbing should not be close to the microphone. But at the distance that represents that distance between the camera and the actor. Poorly do dubs omit this, and the result is very unprofessional. In fact, at no time should the actors record their voice while near the microphone. The only exception would be if we are talking about a scene where the actor is whispering something in someone's ear. Pay attention to this example. I'm going to move away from my microphone in the same way as the bust is away from the camera in the microphone. My voice would then sound like this. So this would be the distance that the actor should have from the microphone in a dubbing for a sin with a shot of these characteristics. But if the shot was closer, then I would have to get closer to the microphone so that my voice matches the image. And if the shot were even closer, the actor should get closer. One of the reasons why the studio where we record must have good sound briefing is because the reverberation and acoustics of the room where we record can affect the voice in some way. For example, if the place of the conversation is outdoors, and it's also an open shot where the two characters can be seen in a kind of American shot, for example. The actor must record keeping a distance from the microphone, which implies that the waves produced by the voice will bounce around the room and reach the microphone later. That is, it will be noticed that you are in a room, and it will be heard incongruent with the scene. In these cases, it's advisable to record either in a good studio or try to do a diving with a laptop and the live sound recording equipment that is the microphone with the portable recording device, and do the davn in a place similar to where the scene was recorded or where the scene is supposed to be. These details are very important to be able to guarantee that the Diving is adequate. But let's suppose that you are actually recording a short film, and you need to do the diving in a home studio, and that is in a part of your house where there are some reverberation, for example. In that case, we must eliminate the harmonics generated by the play, and we must do that in the sound edition in the following way. It's very simple. Perfect view here in the Q vase system is very simple. I have recorded a voice in some room of my flat, where there are more reverb than here. So I moved away from the microphone so that the rever eration bounces. So remember that the bounces are going to come back to the microphone. So that was a result. One, two, three, four, one, two, three, four. One, two, three, four. Hello. One, two, three, four. Hello. If you realize what you hear, you feel the space. That is to say that the voice is in a room. One, two, three, four, three. The conversation or the doping we are doing has the purpose to represent a conversation in a room. That reverberation don't cause any problem. But anyway, regardless it matches the scene or not, we are supposed to eliminate the harmonics from the voice because harmonics d to the sound mix. So the first thing we're going to do is a loop of this voice that I recorded. We simply have to position the markers at the beginning and the end of the voice, and then press this bottom right here. So, while this purple button is activated, QBs will play everything between those markers over and over again. One, two, three, four, one, two, three, four. One, two, three, four. Hello. One, two, three, four. Hello. One tooth. So we must go to the track properties, and we must find a graphic equalizer. Let me refresh the difference between a parmetric equalizer and a graphic one. The parametric equalizer is this one. It is a kind of screen where you can see a spectrum, the sound spectrum, and you can move the qualization by using these key points around the spectrum. There are different paramtric equalizers. Actually, we use this one before. There are others two that are very useful like this one. I don't mean to say that you can do what we are going to do by using this parametric equalizer. But it happens that it's easier for you to understand what we are going to do by using a graphic equalizer like this. This kind of equalizer allows us to move a specific hears lines belonging a specific place of the spectrum. So this type of equalizers are easier to use because simply by moving each one of these small failures, we can raise and lower the gain of a specific frequency range of the sound. So what we are going to do is try to find the harmonic frequency in the recording. In order to eliminate it, or at least try to lower the gain of that specific frequency, that specific range of frequency. We had to be patient with this. Three, four. Hello. I would say the harmonics were in this soon, but each voice is different. It could be in another song, of course. Hello. O two. Hello. What you had to find is a kind of annoying is just one of these frequencies. O two, three, four. Hello. Okay. Hello. One, two, three, four. Hello. So we have to go testing in the areas that we more or less believe that this whistle could be. Two, three, four. Hello. So we got it. Just right here is that and knowing his that messes up the sound mix. Hello. So it's right at 500 hers. To recognize this, I have raised again of that frequency. So now we have to lower the gain of that frequency to remove it. So we're going to turn down just that little favor. Hello. Hello. One, two, three, four. Hello. One, two, three, four. I'm going to raise the gain again so you can notice the harmonic. One, two, three, four. Hello. I suppose that you'll notice it match more. Hello. Believe it or not, this little whistle is making a lot of noise in the mix because there could be many more voices. Hello. One, two, three, four. Hello. Remember that depending on the type of voice, the harmonics will be in a higher or lower range of the spectrum. It's very important this. Hello. One, two, three, four. Harmonics are not only related to voices but also musical instruments. For example, in a drum set, specifically the snare drum. Usually produces a lot of harmonics. So later on in the sound editing, those harmonics are supposed to be removed from the sound mix. Of course, eliminating harmonics also translates into losing sound quality, because just as you are eliminating that his that's whistle, you're also eliminating part of the nature of the sound. That is what it's always better to record in a good studio. Hello. One, two, three. So this is a proper way to remove harmonics. But you can do this not only in vase, but also using Adolf premiere, for example, that is for video editing. Because actually ad Premiere, you are able to do sound edition. So in that software, you're able to use graphic equalizers, for example. I tell you this because sometimes we are using Adolf premiere, and we are not keen to open a new project in Q vase. O two, three, four. Hello. Try to listen to the difference again. Hello. Hello. One, two, three, four. Hello. So to recap, you just have to find the frequency range where the he is generated and lower the gain to that fader of that frequency. Hello. I highly recommend that you practice with different kind of voices. So that you learn to recognize harmonics easily. Another important details is that sometimes when the shootings are very low budget, sometimes the directors want to double all the performances. But it turns out that they don't record in any reference of the actors, and they must end up trying to remember or discover what the voice of the performance they did on the day of the filming was like. And that is very difficult. That is a vital mistake because in terms of acting, there are actors who cannot reach the level they did on the date of the shoot. On the other hand, in the studio, we can also create sound banks. That is to record the sound of clothing breathing moons to have them in a backup for our later edition. But you need to know that obviously, all of those backup sounds that have to do with human reactions cannot be used for the main characters, but for tertiary or extra characters that had not relevance within the story but are important in the scenes. Sometimes there are actions and scenes where the characters participate only once, and you don't see them again. And of course, sometimes it's necessary to improve the audio recording of those characters. Well, as I told you, there aren't too many secrets for db and voices. Some completely cobines that you will do it well until the next lesson. 22. Low Frecuencies: Hello people. In this lesson we're going to understand the importance of low frequencies and why it's so important. It's necessary to have a super, super offer to achieve a completely professional mix. First of all, you have to understand one thing. In sound design for movies, the mix is very different from that of music. In general, one of the most significant aspects of this difference is dynamics. What is this about? Dynamic range is the ability of sound to travel from a very low to a very high frequency, or from a low volume to high volume. The larger that sound spectrum is, the better the mix or the sound design in general will be. But additionally, the dynamic itself is the amount of volume variations in popular songs, for example. Despite the fact that there is a great dynamic range as a result of technology, of course, there is no significant dynamic in the volumes. Most of the songs are mixed and master so that they're always sound at the same level with a dynamic reduced 0 minimum expression. On the other hand, in the cinema this works differently both in soundtracks and in the sound design. A significant dynamic is used to move the audience in the most dramatic moments of the story. Today, there are sound tools that allows us to add sounds low enough to stimulate sensations in the audience. Generally, the sounds are of a digital origin. That is, they are sounds that come from media libraries for example, or sounds digitally modified to achieve those frequencies. One of the first people to use these kind of frequencies to boast the dramatic quality of his story was James Cameron in the movie Titanic. His purpose was to represent that vastness of the ocean and the ship by using sound. This is one of the things most incredible of the movie. The moment where the ship is shown making its way into the ocean, cut in the ocean. The low frequencies of the sea are fundamental, both underwater and out of the water. As I mentioned before, low frequencies can be used to give more strength to certain moment of the story. I'm going to give you an example about it. I'm going to show you sine from the movie American Beauty. One of the last since Ricky's father, the Colonel has just kicked his sons out of the house and goes to Lester's house to try to kiss him. And since he thinks he's homosexual, just like him, of course, it's all like fusion. Of course, the audience at that moment in the film doesn't imagine that the Colonel is homosexual. I mean, because he thought his son was homosexual. The Colonel goes to Lester's garage, runs in him, hugs him, and tries to kiss him. But pay attention to this look and listen to what happens to the sound design when the colonel puts his hand on Lester's back. Let's check it out, wife. I don't know. Probably out to ******* that dorky prince of real estate *******. And you know what? I don't care. Your wife is with another man and you don't care. No. Our marriage is just for show commercial for how normal we are when we're in Anything. Man, you are shaky. We really ought to. Getting out of these clothes. Yeah, it's okay. You just tell me what you need. Oh, I'm sorry. You got the wrong idea. Did you notice you notice that low sounds that rumbled at that moment, the connel puts his hand on Lester's back. It's very emotional because it's shocking when you find out that Rick's father is gay. I mean, he was hiding and repressing it throughout the story. It's very valuable resource to portray the surprise and try to excite the audience. But there is a chal***ge in this regard. It happens that more technology increases. There is a possibility of reaching more low frequencies. But it happens that the low frequencies that musical instruments reach are not longer enough to achieve it. The sound designer have to have the resort to sympathize sounds to make it. There are many tools today to enrich our sound design. In this course, I'm going to show you, I'm going to introduce you to contact me. The contact technology, you don't need to be a musician to use contact, but obviously if you are a musician, it will be an incredible experience to learn how to use it. Contact is a software that we can add to any digital audio workstation to add sample digital instruments to reach unattainable nodes and experimental sounds. Try not to be afraid to use this kind of technology. Experimentation is the basis of everything until the next lesson. 23. The Kontakt System and MIDI technology: Perfect. We're here again in our project. What are we going to do now? We're going to address what would be the media technology, specifically the contact, and what we can use this contact technology in order to enhance the sound design. But I know that you have surely heard that media and contact are used to create soundtracks. The truth is that contact goes much further than creating music. On the other hand, there are many movies in audiovisual products that don't require music itself. So the first thing you're going to do is to connect the contact to the door to the digital audio work station, the vase. I suppose that you already have your media controller, but it doesn't matter if you don't, because I'm sure that after listening to this lesson, you will want to have it. Most media keyboards are plug and play immediately. When you connect them to your computer, they automatically adapt to the system. But anyway, to make sure that vase is recognizing the media keyboard, you just have to check this little light on the right and bottom that indicates that the key vase is receiving a signal from the mid controller keyboard. It's important to be aware of these details and especially that most controller keyboards sometimes have electrical problems. One way to detect this is that the doll is not receiving any signal. On the other hand, obviously there are complex sophisticated keyboards that may require an installation driver, but most don't require that. But for those who are starting out in sound design, I really recommend buying a very simple two octave one. I mean, simply to add these kind of sound effects to your project. What are we going to do now? We go to the Project tab and we click Instrument. This little window will be displayed again in the first box. We are going to have the several systems we have installed in the computer. Here in this box reads contact five, but actually my contact version is 6.5 but it doesn't matter. The thing is that the contact you must have installed and when you installed, it will appear here in this small box. We make sure that the contact is selected and we press a track immediately, a new track will appear. This is a di instrument track. Basically, this track seems to be the same as the others. I mean, it has almost all the functions of a normal audio track. That is, the properties to add effects and panning in the same way as we did in the other tracks. Clicking this, thereby accessing the track properties with the difference that audio is not recorded on the track. If we click on this little keyboard that we see here in blue, we can access to the contact. This contact panel will be displayed is a dash word when you can add any instrument you may have for contact. I mean, they are all designed for contact. How does contact work? Simply, the keyboard that we had connected to the base sends signals to the software. The software translate those signals, those instructions into different instruments. Sounds all of these language. On the left panel, there are libraries with instruments, all my libraries. And on the right, that panel where I can drag different instruments that I want once we have already added our contact. In this way we can access, we can go to the studio tab that we check in the previous lessons. We click in BST instruments. If you remember, that box was empty in the previous lessons, but now the contact is right there, because we already added the instrument track to the vase, to the project. This panel works to the activate contact when we have already made a lot of progress in a project, especially when the project is related to music, because in those cases, there are too many tracks with instruments and that loads the computer a lot. We can press this freeze button and unload instruments and convert everything we have done into ado clips, thereby freeing up the memory. If you're going to use media technology, I highly recommend having enough brand memory because there are libraries that really consume a lot of memory. Apart from media instruments, tracks, there are also medi tracks, and obviously there is a difference between them. If we go to the project tab, we can find the media track that is over here. You can write down the name you want. As an example, the media track is simply track, where we are going to record what we play on the keyboard. That is instructions that the keyboard is going to give. To the media instrument track that the instrument sounds, which in this case those instruments are what I add to the contact. Of course, I can add as many media instrument track as I want. Everything will depend on what you want to do and also on the capacity of your computer. Here, for example, I added another media instrument track to add another instrument, but I could have added it in the same contact. But I'm showing you these so you can see what can be done. Since we can add the number of instruments that I want to the same contact from several libraries for example, then I can add as many medi tracks as I want. Those medi tracks will control each of those instruments. For example, in this context I'm going to add the instrument from the library we are going to use in this lesson, that is gravity. I'm going to select this specific one, which is the one I'm going to use. We just need to drag it to this panel. Additionally, in the other instrument track down here, we can load another instrument from the same library, for example. In fact, I highly recommend you to buy this library because it's very useful. In fact, you can take your sound design to the next level by using this library. I assure you that you are not going to regret buying this one because it's a library about experimentation is not music at all. I mean is sound effects, the distortion of effects, sound distortion, et cetera. We have already created two media instruments, tracks. But pay attention to this. When you create this medi track, you need to configure what will be the output of that media track. Because the track has to know where its instructions go. That is, to which of the two media instruments track its instructions Go. Pay attention that the medi track already detects the input from our keyboard, But we have to select which of the two instrument tracks will be the output for this medi track. You can connect the medi tracks to the instrument tracks you want. Any instrument track you want. Why have I specifically chosen this library called Gravity for this lesson? Because the idea is that you can see how we can improve these scenes using these special sound effects. This is one of the best Libries I have found. To do that, I'm going to randomly press the keys on my keyboard so that you can listen to what it sounds like. Since in this model we are talking about low frequencies. If there is something in which this library stands out, it's in the low frequencies. This specific instrument in this library allows me to generate low sounds that would be impossible to generate with that real instrument. On the other hand, there are sounds that, in a musical context could be part of the music itself, but we could perfectly use them here to improve the sound design in general of these scenes, these low sounds impossible to have on a real musical instrument, it's a great advantage to have the chance to reach those low frequencies by using this library. Actually, if you had a super buffer, for example, you will be able to perceive those low frequencies in their own nature. If I mix those low frequencies, those low sounds, with all we have created in the previous lessons, the result is usually great. I'm going to open the properties and I'm going to turn the volume up a bit, we can check how it sounds. I think the music is off. I'm going to turn it on then. So I'm going to play those low sounds. While everything we have created is playing, did you guys pay attention to those low sounds? I'm obviously following a rhythm, but it gives a great depth to the whole mix. I must confess that I am a really lover of low frequencies, but the interesting thing is that, in fact, the music might not be playing. Listen now how good it sounds. Anyway, you see how important these sounds become in the narrative, because the whole environment is already full of sound narrative. In fact, audiovisual narrative and that low sound simply gives us tension. It tells us about the tense moment that the characters is experiencing. I can assure you that this really takes our work to the next level. We're going to leave this lesson here. In the next lesson, I will show you other effects from the same library until the next lesson. 24. The Kontakt System: We're here again reviewing this magnificent livery in the same way as we use the low frequencies, we can use other effect. Actually, I haven't mentioned that the name of the library comes from the movie Gravity, because actually the library itself was based on the soundtrack of that movie. Because even though that soundtrack is music itself, there are many aspects of that soundtrack that are related to sound art itself. That is what I want to show you. We're going to try other effects and sounds that allows us to generate sensations without having to create music. So let's use the beginning of the sound design of this scene as an example. To add another effect in this scene, I'm going to use a riser. A riser is a sort of sound effect. An elongated effect is a constant effect that generates attention in the audience because actually the character in the scene is striving to reach the, the shore. So a raiser could be suitable this time. That is an example because actually the riser sounded mixed with the low beat, with that low frequency. But pay attention to this and other effect, specifically in the scene where the character is sore and ends up falling asleep, especially when the camera moves away from the character, which is just when he falls asleep. That is, a sound that represents fading. Pay attention that the sound fades little by little. You're going to find all these sounds in this kind of libraries because actually the soundtrack, the soundtrack may not include those sound effects. I mean, because of so many possibilities, maybe the composer doesn't know this technology or he just doesn't imagine any of it. I think in those cases, we must take a step forward and to be able to make our sound design stand out and complete all those sensations that music cannot give. In fact, I think music is running out of originality. Time passes and film music is becoming more abstract and experimental. Almost all independent films don't have a soundtrack but a great sound design. And in fact, the border between soundtrack and sound design is increasingly blurring, because the music of the films is becoming a great sound design itself. Pay attention to these sounds, for example, everything they could represent in a movie. All these sounds could be perfectly in the sound background of a scene where a person is experiencing something psychologically strong. For example, even in conversations, we can add these sounds, for example, in the scene of the conversation between the character and the girl. This is scene we have here. We can try a couple of these sound effects here. Whether you can notice how that subtle sound immerses more in what the guy is imagining. Let's listen to it again. We, all these sounds are generated by this library, but there are infinite libraries. On the other hand, we don't have to be deep. We can simply improve the atmosphere of the scene with this special effects. For example, in the same scene, later when the conversation is progressing, we can add some subtle sounds to improve the atmosphere. It's important that you remember that there is retrospective recording in the vase and it's a very useful tool. Actually, I'm going to give you an example if I want to, to record, I just have to click the Record button here below the vase starts recording as if it were an audio track. It's going to record whatever I'm doing on the keyboard. It will generate a meta clips which contains the Met instructions. They are all musical nodes. We can edit these mediclipse just like the audio clips with the difference that I can't make transitions between them because they are not audio. I mean it's a digital language. What we can do is combine one clip with another to generate a new one. We go to the Met Tab and then we click on Bounce Medi. Once we click there, automatically the Met Eclipse become one. But what I want to explain to you regarding retrospective recording is that you can play the keyboard while playing the music. I mean, you just click Play and you let the base play and you can start trying things on your keyboard to experiment. Once we stop the recording, we can click this button, Insert Retrospective Recording. Then everything we did since the last time we played Base will automatically appear on the Da. Track is excel***t because we can experiment and experiment, and let the base place for a long time and discover what is exactly the sound we need for a sound design. In fact, may I confess that when it comes to recording ding, I never press the record button. I simply press play on base and start trying notes. And if I like what I hear, I press Retrospective Recording. The purpose of the media lesson is encourage you too, to get in touch with this technology in order to take your sound design to the next level is a very valuable skill. It's a very valuable tool. Notice how far this technology goes. So many examples, so many movies. Anyway, I'm going to show you another lesson later where I precisely mix the low frequencies at an even more powerful level. So I hope you have really enjoyed this lesson. Try to experiment and be motivated in this path of sound design until the next lesson. 25. The Mix Introduction: Hello again. In this model, we're going to learn how to make the mix the most general aspects of the mix. Above all, what we need to know regarding 5.1 surround mix, My purpose is that you learn to make an Stemix that can generate the sensations of a 5.1 surround mix. You don't need to be a sound engineer to do this. You had to develop enough intuition to be able to understand sound and its cinematic dimension. Pay close attention, and let's start the. 26. The Mix Part I The Sound & Space: The first thing we need to understand about film mixing is the spatial dimension of sound. The main objective of film mixing is to create an immersive experiences. In the case of sound mixing for music, its purpose has always been for the music to sound louder and more powerful. Which is why current music has limited as much as possible the recording of live instruments on studios, because those acoustic recordings are full of noise, and that noise limits the possibility of reaching as much volume as possible. Video. In this context, the same evolution ended up developing physical or digital devices that generate compression and cleansing of those sounds to reach that attractive volume for the audience. What I'm trying to say by this is that film sound mix works differently to make it attractive. We don't need to add a lot of effects on blue gins to get the sounds in the mix compressed to get louder. Rather, we have to be aware of the spatial dimension of sound. And the spatial dimension of sound manifests itself both in the recording and in the mix. On the one hand in recording, the spatial dimension is translated into the distance between the microphone and the sound source, because the sound waves will take time to reach the microphone. And that will generate a type of reverberation in space and even delayed in sound because the sound travels at a constant speed. This factor starts from the recording. That is, having a sound source that really resembles the image is essential, is one of the most important things when it comes to sound design. For example, in the image that you are seeing. At this moment, the sea is in the distance. It's seen from a cliff. So that the sound that we use to represent the C cannot seems like it. But I know you are wondering what role sound effects play in the mix for movies. It turns out that the conditions are not always perfect. That is the sound source that we are going to, it doesn't always match the image. So the defects, in this case, equalizers and reverbs, have to be used to fix that. I mean, we must try to bring the sound closer to the image in order to use equalss and reverses correctly. You must be aware of a very simple principle that has to do with this issue about the space and sound. It happens that the low waves travel farther and have more energy than the hive waves. It's not the same to hear an explosion from a distance than to hear it up close. For example, if we have an explosion sound that is 100 meters away. But what we really want is to represent that is 500 meters away. By using the ecozers, we must try to suppress the high frequencies and rise the low frequencies. We feel the sensation and feeling that this distance is. Pay attention to this example of the atomic bomb. The camera is kilometers away. What we can hear are the low frequencies. That they are so powerful that they managed to travel and even have the ability to make the Earth tremble. Obviously, here, the sound is already recorded because it's the nature of the recording itself. But if the sound of explosion were closer, then we could remove high frequencies in the edition to generate the sensation of distance. Actually it's quite similar to what we did in the last edition of Cross Under the Moon. That, that is scene where the C is in the distance. That scene where the character wakes up, just right here, for example. Let's listen to the sea in isolation. If you remember, we remove the high frequencies by using an Ecos. Of course, those high frequencies will never be completely eliminated because those frequencies will remain in the background. We're going to open again the Coser. Let's take that curve. In the high frequencies, the high frequencies are turned down but not completely mute, because they should still be playing. But the feeling of distance cannot only be generated through equalization, But also using reverb, because the sound while traveling is going to bounce in space. Therefore, adding reverberation is also a factor that create distance. Here we are again in the Q base. I'm going to show you a sine from another sharp fine I have directed, its name is Cara. This sine is a talin. It's more complex in terms of sound design because there are many sounds in the edition and many elements that must be created. But what I'm trying to explain to you is that you don't need to add many blue ins and effects to create a professional sound design. The secret is to correctly order the sounds and create that spatial dimension of the mix. The complexity doesn't lie in the facts. So I'm going to show you the whole scene first. I am sure you hear it and imagine that there are a lot of compressors and effects behind each track, and it's not like that at all. Instead of that, what I have done is a proper ordering of the sounds. And I have used the reverse and equalization to generate the atmosphere of the battle above. To create also the distance between each element that is sounding in the scene. Remember that the audience is hearing everything from the point of view of the camera. And from that point of view, we must create an immersive experience for the audience. If you could notice in the background, there is an atmosphere of battle, as if it were a distant battle. The only effect that that track has is an equalizer and a bit of reverse. So I'm going to open the track properties to check them out. It happens that even though this is a distant battle, it doesn't make a perfect match with the scene. For it to match, it's necessary to add more reverve that it feels farther away from what the sound itself sounds like. I'm going to play this in isolation. I'm going to mute the rest of the mix. Where you can most notice it is in the strong explosion in the cannon shot. I'm going to let you hear it without the reverse, so you feel how the distance with that battle is shortened. In fact, like this in the cannon shot feels closer. I mean, it's assumed that if it's cannon shot, that cannon shot is far away. I mean, we don't see the cannon in the image. The reverse allows me to increase that distance from the camera. But we must be careful. We must try little by little until it feels consistent with the image. In fact, we could add more playing with the reverse diffusion *****. I personally think it's a lot of reverb, but you can notice that not only playing with the frequencies, we can achieve the effect of distance, but also using the reserves, especially in this forest that has wooden trees. The same happens with the sound of swords. I'm going to go to the sword tracks and we are going to check them out. We're going to scroll down to the sword track. They are just right here. And I'm going to open the track properties. You can notice that there's only a hole defect, a reserve, that effect is to make the sword sound to do a match with the environment. So let's check the source in isolation. Actually, this sound is also mixed with the swing of the sort. And pay attention to this important detail. At the end of the fight, there is a sound of the sword piercing the soldiers flesh. But that sound doesn't have a reverb. I mean like the sword clashing because it's supposed to be another material. The metal is what generates that reverb variation. Being aware of the nature of the material that is supposed to be producing the sound is very important when it comes to doing sound design. Additionally, that distant battle background also contains air that allows everything that is playing on top of it to seems like it's playing in the same environment. But pay attention to this other detail. Semetically's important that the last blow of the sword against the soldier's flesh sounds louder than he really would. Because it's a fight that it's necessary to mark not only the end, but that blow was deadly. It's necessary to convey that he really killed the sold. The same goes for the sound of the soldier falling, hitting the ground. At that distance that we are seeing everything from the camera. It's difficult to hear that contact with the ground in reality, but highlighting it in the mix. It's important for the scene. The sound has to be connected to the storytelling as well. The scene is telling that two soldiers are fighting. I must understand everything that happens precisely. We can play with search and details, taking into account two factors, both the distance between the element and the camera, and also the importance of that element in the scene. Pay attention to the moment when we see the boots a close. They are also heard closer. The image is indicating directly to me that the boots are close. On the other hand, the importance of the sound in the use of the splashing blood, another important detail is the pinning of the bullet. The bullet hits the tree that is to the left, but not only that, but the time between the sound of the musket and the bullet is a fraction of second difference. But those are the details that take the sound design to the next level. In fact, you can see it directly on the vase. Visually as the sound of the musket plays first, and then the sound of the bullet enters. But as I told you, you should be aware that a bullet behaves like this. That gives realism to the scene. It's not a matter of adding compressors and a specialized effect not at all is to create all the immersive setting detail by, as I mentioned, the detail of the panning is very important. I'm going to open the track properties so you can see how the panning is set to the left. Listen to that voice that sounds. It's supposed to be from a soldier who is nearby. So it shouldn't have revere. The arrow doesn't reverse either because the shot is very close. But obviously in this fight, as it is an open shot, you should then hear the sword clashing with a certain reverberation that transmits to us that they are in that space. This scene is very interesting in terms of sound design. There is even a vocal gestures of effort that helps to make the last blow feel stronger. It's just right here. I'm going to play it in isolation to check it out. The track where the little voice is on has an equalizer to bring out the higher frequencies of that voice so that you can hear it clearly through all the noise of the battle. Notice that even in this case, I don't need to add a compressor, just that equalizer to slightly emphasize the higher frequencies of the voice. In terms of mixing, the first thing we must do is to level the volumes and create the true spatial dimension of the place. Listen to the sound environment that is in the background. That nighttime sound escape is playing along with the entire mix of the battle. And that sound escape includes air and wind. Pay attention to this. That sound environment that sound escapes had a lot of wind in air that made a bit of noise. So with the equalizer, I had to lower the lowest and highest frequencies to suppress the wind noise of it. In fact, there is still some noise in the environment, but it doesn't matter because the rest of the scene covers it. In the case of compressors, we must understand what a compress or is and why they are used in sound design. In the sound mix, compressors are generally used so that a specific element sounds more clearly despite the fact that there is noise around it, for example. This is widely used in action scenes where there is also dialogue. It's gaining body. This is the beautiful top speed. I can get out of road faster than this. But the problem with compressors and sound mixing for movies is that sometimes they destroy the sound dynamics. The truth is that human beings don't naturally always speak at the same volume. I mean, there are words that we say with more force than others. In fact, this is a fundamental of acting. The compressor will simply turn up those parts and frequencies that sounded naturally at low volumes and organ app. In the case of a pop song it's perfect because we need to hear the voice clearly all the time. But as I told you, it's detrimental to acting performance. We are going to leave this lesson up to here, and we're going to continue with the mixing aspects in the next lesson. 27. The Mix Part II Master EQ , Multiband compressor, Anymix Pro & Quad Image: Let's continue with this mix lesson. In the general track, I mean the output track, we can add some effect, that is sample gins. To give a personal touch to the mix. I mean to give a unique touch to the sound design of the movie. All these elements serve to improve the audio visual quality of the film. In this sense, we're going to use samples for mastering. Let me mention that you guys could finish your mix and then send that mix to a mastering studio where they do it as good as possible. Obviously, that would be the best option. Remember that there are studios with the physical equipment necessary to do mastering, but my idea is that you guys can do a pre mastering that can work well enough for independent projects. The main tools that we must use are both a master equalizer and a multiband compressor. Because we need to give power to the most important frequencies in the story, which in this case of this short film, are the low frequencies of the sound of the C. In addition, we have worked with the C throughout the course and also with the low effects of the meeting. Those low frequencies are very important. This is the mastering from that I'm going to add to the output track. I am also going to add this multiband compressor also from X. This is not it, I'm going to remove it, and the multiband compressor is this one. But I'm also going to add other plugins that will help me expand the sound of the mix that it sounds bigger to the sites and even improve the sound space. The first one is this Animi pro, but we are also going to use the quad image of x just right here. So I'm going to explain one by one how they work in terms of mixing the sound. So I'm going to deactivate all defects first. And I'm going to look for that scene where the character is coming out of the water to work on it. As an example, I'm going to start first with the plug in to improve the stereo image of the mix, to improve the sound space of the sound design. The plug in we are going to use for that is the quad image, just right here. The last one, what is this effect about? What is it for? This effect allows me to spread out to the sites or center the frequencies separately. On this screen that you see here are four frequency ranges from 20 K to 20, I mean to the high frequencies, to the low frequencies, depending on how I raise or lower this point that you are seeing at this moment, I will expand the sound to the size or make it sound. In the middle is to the size and down is to the center. As long as I move it, you're going to listen to it. I'm going to move the low frequencies there. I'm expanding the low frequencies of the mix to the sides. Now I'm going to center it, in fact, you have a small reference guide below. Additionally, I'm also affecting the low middle range. It's important to know that this effect could be used directly on any track. To center the, so for example, directly on the track of the instrument that produces the sound. I mean, centering it is important because if we are using a super buffer for example. We're really going to fill the center low frequencies. But you can experiment with that. Experimentation is also important. It's actually very important when it comes to sound design. We can do the same with the other frequencies such as high frequencies. I can also expand them. This would be the best tool to expand the stereo sound of our mix. Of course, you shouldn't overdo it. As the more I expand the mix, the power of the sound loses its punch. Additionally, although you can use this plugin on other tracks within the mix. The nature of this plan makes it more appropriate for the overall output track. Let's go now with the mix. This plugin works to do something similar to the previous one, but only with the general space, regardless of the frequencies that is with the entire mix. This screen is a kind of guide, a map that tells us where we are with respect to the mix. We are in the center, in front of the two speakers, but the point of view from above, these red circles that read left and right, we can move them to move the sound away from our point of view. For example, it's very interesting when we move the sound away, let's listen to it with the sound of the sea. But just as we move the sound away, we can also bring it closer. I think the difference is quite clear. Of course, everything will be felt more in the low frequencies because they are the ones with the most energy. This effect is interesting because we can even expand the distance of the sea by using it. I think it's very useful. But just as I can't change the distance of the mix from my point of view, I can also spread the sound to the sides. I mean exactly the same as using the previous blueing. Pay attention to how it sounds when I center all the sound mix towards the middle. You can also use this begin on other tracks if you want to generate an effect. For example, for example, in a sin, if someone is hearing everything through a metal tube, something like that. This blue gin is very useful for movie sound design. I even use it for orchestral music that I usually do. However I recommend that you always use it on the general, do not over use it. That is, don't exaggerate in the distortion of the sound. It's not something correct or versatile, it's important to take that into account. Additionally, you should remember that in terms of mastering the previous blue gin is better, actually is completely adapted to that because it's designed to expand the separate frequencies. Additionally, all the mix must have a multiband compressor. Why do we need the multiband compressor? Because despite the fact that the film mix is dynamic, we must also gain volume in a certain way. We need to use this compressor and set it to a flat setting so that it can give us some gain in those parts of the sound design. That sound, the multiband compressor is not only going to help us with that, but it's also going to help us to eliminate some noise frequencies that are spoiling the mix. All of these processes are necessary to clean up the overall mix of our sound design. You don't necessarily have to use the two racks. You can also use other ones, But always paying attention to the configuration of the plug in. That must be flat. Here you can see that the ***** are flat. Only the part of the low frequencies are somewhat altered because it's something classic. But in general terms, it's set flat. However, there's something to which we must pay close attention. We must pay close attention to the big input wheel. The input is the amount of gain that the lowest sounds in the entire mix will have. Let's check it in the volume matter on the track right here, where this light goes up and down, indicating when the sound is saturated. So we can roll the wheel and look at the volume wave matter to see how much the amount of input I'm adding is affecting the mix. The more you move the wheel up, the quieter sounds will increase in volume. That is what is used in electronic music of pop songs. To make it sound as loud as possible, you can listen to it with a little amount of input, but you can also hear it with a greater amount of input at all. Yeah. But as I told you before, the fact that everything is heard at the same volume doesn't make any sense. The sound of cinema is not like that. Sound design for movies has great dynamics, sound surprises in movies. I mean this is the very core of sound design for movies. The peculiarity of the movie theater is that the speakers are so large that the dynamic range of sound is greater for us. That is, even though we can hear scene at low volume, that scene is heard loud enough to be understood. Then when it comes to those exciting moments with blurring special effects, the audience feels that it's incredible. Remember that all movie sound design is based on the conditions of a movie theater or a home theater that is the same. Both work under the same principle of generating an immersive experience. So remember to set the multiband compressor in a classic way. I mean that it's flat. Do not add too much input. Remember that it's a movie only add a little. If you add more, it will be like in the mix of a pop sun and it doesn't make sense. Now we must go to the master equalizer. What the master equalizer is going to do is boast the frequencies. That is, it will not modify the qualization of the mix itself. For example, here there are several configurations depending on the type of project. But we can use, for example, the slight smile. If there is a plugin that will make us feel that the audio is mastered, it's this one. This plugin will add more energy to the most important frequencies of our project. If for example it was an action movie project, we could move these ***** and make the low emit frequencies more expanded in the spectrum. Obviously, you're not going to feel a difference as big as in a musical project. The music mixes are much more compressed to tip more volumes. So when using this plugging, the difference is greater. I tell you this because we have to learn to be sensitive to this. We must be delicate. In fact, one of the problems I had in the studios where I recorded with my band, it was the over use of plugins. But as I told you, everything will depend on the project. If we are working in an independent film with a story of a daily life where the low frequencies are not used, it doesn't make any sense to reinforce those frequencies. So we simply use this plugging to expand the sound in the spectrum. So pay attention to the power level that those low beats reach. When the plug in is activated, let's listen to it now. Deactivated, I'm going to activate it again. It sounds much bigger. It expands the spectrum where the mix is playing. I think it's one of the best track plugins. I would say that these four plugins are the most important of all, in order to create that personal touch, to give that personal touch to the general mix. But remember that if everything that we have seen so far is not well done, this final mix on the final track is not going to make any sense. Regarding the order in which we must put these effects over here, we must put the equalss, compressors first, always first, and then the effects to modify the stereo image of the mix recapitulating. The first is to reinforce the low and high frequencies so that they expand in the spectrum. The second effect is the multi van compressor that will help us to give a pre master into the mix. Of course, adding input to the quieter parts of the mix to raise them a bit. This even boasts the important frequencies and cleans up the frequencies that are generating noise. Remember not to destroy the dynamics of sound design by using the input wheel. The following is the mix pro, which is very important. We can use it both in tracks and in the final mix to modify the stereo image of the mix, but also the distance that the sound has with respect to the point of view of the audience. We are going to see some of these in next lesson on Surround, But it's important to know that since we don't have the devices to work around, we can use this effect to try to replace that type of mix. We are supposed to be creative with this, because the round mix can only work with six speakers and six outputs. And we are supposed to be listening to everything at the same time in a room. And find a little last effect, that is the quad image that works for the stereo expansion by frequencies. I would say that in terms of mastering this is more important than the previous one. Because since we can expand by frequencies, we will be able to improve the sensation of space in the sound design. The most important thing to take into account when it comes to using all these effects is to be aware that we must be delicate, subtle, and sensitive with the changes so that we don't damage the sound design. I mean, not to exaggerate with the use of effects until here this lesson and until the next time. 28. The Mix Part III: 5.1 Surround Setup & Automated Layouts: Perfect. We are here in vase again. What are we going to do now? We are going to see how to configure vase in order to work with Surround 5.1 But we are also going to see how to use automated panning, which is something extremely useful when it comes to creating a three dimensional sound design. We already know that our mix is, our project is an stereo project. I mean, all the mix is coming out through one single stereo track, that is the output track. But if we had an LD interface with six outputs, at least in additionally six speaker monitors that we need in our home studio or our studio, knowing that that is essential to be able to mix 5.1 around. So under those conditions, having that equipment, we just have to go to the studio tab and open the audio connection properties just right here. We must pay close attention to this little tab output here where it reads Stereo Out. We must change this property. You know that we had been working in stereo, so by clicking the right mouse button, we can remove this property from the project. Then we must click again in this space and pulls at and select 5.1 configuration. Immediately, all the tracks are displayed here. We can see the left and right channel. Also, we can see the center, which is a speaker that must be located in front of us in the studio. The following is the sup buffer also. And the last one, they are all the back speakers, the speakers that had to be behind us in the studio. So I remind you again, these first two are the left and right, then the center, then the soup buffer, that if you had to chance to get one, you can place it at the bottom of the place where you are working. I highly recommend you that the last one are the back speakers that must be located behind our seat. Once we have configured the output to 5.1 surround, the entire project will be ready to work in 5.1 Pay attention that some surround panning panels have appeared above the faders, and you may even notice that since we had already moved the pan on some tracks automatically, the pants were adapted to the surround system. Remember that we were planning some tracks during the editing of the scenes so that the sound comes from the direction the shot suggests. I'm going to work on a specific a sine and we are going to review one of the tracks where the distance is playing. We must go to the track where the distance is, in this case is environment. I'm going to open the track properties, so you're going to notice that the little output tap here has changed. So now we have the chance of sending the track to any of the six output tracks of the 5.1 surround. I mean, you can send it directly to the monitor on the left, the one on the right, the one on the center, the sub bon, and even the two monitors in the back. But if you select where it reads 5.1 the system gives us a much broader possibility. This panning panel is immediately activated, which is a map of the positioning of the sound with respect to us. We are right in the center. The point of view is from above as if it were above us. This tool allows you to move the sound throughout the surround space in a more blurred and exact way. The color circles are the right and left channel of the track, and you can make it sound whatever you want by using this panel. You can find several ***** over here. For example, by moving this, you can expand the ser, image of this track. But also to a certain extent, you can modify the sound depth. But I remind you that you should be aware that if you only have two monitors or the headphones, this surround configuration doesn't make much sense because we won't feel the surround effect. For example, the headphones don't have six speakers, only two. So you can notice that as I'm moving the audio output to the rear speakers, you just feel like the volume is going down. I mean, this tool is going to make the sound travel in a diffused way towards the rear speakers so that it will gradually stop sounding in the front speakers, which are the ones we're listening to at this moment. You know I am explaining all the so that you understand that it's not possible to fill this surround system editing with headphones or simply two monitors. You guys listen to how the volume drops when I move the sound to the rear monitors. Not even if the platform where I'm giving the course had the possibility of the audion in 5.1 even having that, you would need the six monitors to fill the surround effect. Now, despite everything, this knowledge is very important because you already know how it works, how it's done, how it is configured in a volo wall. Now all of you understand better that plug in that we saw in the last listen dynamic pro, that effect is simply trying to imitate this, but from a stereo point of view, it's very useful if we are going to do simple mixes, but the completely professional way to do it is the surround way. In fact, you could perfectly mix, surround and export in stereo. Now personally, I think that you have to be clear from the beginning if the project is going to be surround or not. I mean, being clear from the beginning, we can get the best out of each of the tools so that they work under the final conditions that the project will have. I remind you again how the span works. We are in the center and the point of view from above. From there you can move the sound around you. What criteria should be taken into account to edit in 5.1 around the point of view of the shot must be taken into account. That is the reason why I choose this scene to explain this lesson. If you can notice it from the point of view that you are watching the character, the C should sound behind us and to the left. I mean, if we were looking at the character right from where the camera is, we would hear the C behind and to the left. So from the stereo point of view, it's difficult to do this effect. We would just have to turn down the volume of the C to try to make it sound far away. Pay attention to the character wakes up, checks the papaya, and then looks toward the C that is in front of him. But in the stereo mix, there isn't really the true front and rear dimension of the sound, the three dimensional effect. By using the 5.1 surround panel, we simply open the panel and move the sound output to the place we want, which in this case is behind us and also to the left. At the same time, just right here, for example. This kind of sound design is extraordinary. You can imagine how many movies are published daily without editing the sound environment in this way. But you can also practice with this. The most important thing is, and rather my purpose is that you understand that effect we used in the last lesson, the anemic Sp. Because I'm sure your point of view has changed after understanding this lesson. The point of view regarding dynamics. So it's important to keep that in mind when it comes to mixing. Another important detail regarding the ordering of tracks and sounds has to do with grouping pens, for example. If it were the case that we need some soldiers to sound right in the place where the distance is sounding. I mean from behind and from the left. We could create a group track to connect all the tracks we want to a group track that sounds right. In that place, we must go to the Project tab and select a Track. And then we click on Group Track. We can name that Track Distance, or the C from behind, whatever you want. We can move this track up to here. Then we can open the track properties. We can set the panning right here to the rear speakers and to the left at the same time. Then we can connect all the tracks we want to just that one group track. I mean that group track will appear here When trying to create a scenes with a complex sound design, this is very useful. What I'm trying to say is that the sound design may have a lot of sounds and pending one by one can take quite a while. On the other hand, we are now going to move on to another important topic that has to do not only with the 5.1 Surround system, but with the mix in general, depending automation I'm going to use as an example, the Agle sound. The Agle struck. Remember that the Gals were part of the phone, which is part of the sound environment itself. I'm going to connect the Gal stuck to the surround system, the 5.1. Now you can listen to it. I'm going to turn the volume up a bit so you may notice that the eagles are calling in the distance as a part of the phonafect that I want to create. I mean that they are flying approach and moved away. Specifically, I want it to feel like the eagles go from the right side to the left side. Believe me, this effect takes your sound design to the next level. It's very important for you to learn this. We click on the eagles track by using the right mouse button, and we click on this Show Automation. Immediately the automation track will be displayed. And if we click in that little tab when it reads volume over here, you can automate many functions of the track. You can notice that we can automate the surround panning. There are several options from rear pan, bottom and top pan, and also the amount of sup buffer we want. But this time you're going to focus on the first one, the left right pan. Then you can select the pencil or pen tool, or the line tool, which is more useful in this case. I'm going to stretch a line from the bottom to the top. Now let's listen to the result. Did you notice the eagles passed from the right side to the left side? So you can imagine how useful is in terms of sound design. All you could do by using this is extraordinary. This is a very important knowledge. So you can see for yourselves in the surround panel how the panel moves as the vehicles are passing by. The this is very interesting. Let's take a closer look at the again, there's something that you should take into account and pay attention to. The use of automations consumes a lot of Ram memory. You're supposed to choose well to which elements you are going to add this pan, this automated pan. You can manage the computer's memory in the best way. Additionally, you could directly record the sounds with pan. I mean, not necessarily with the vehicles, but with some sounds in which you can move recording to create the panning effect. Of course, you must record in a stereo that is used, a stereo microphone like the front microphone of the sound recorder for example. Well, you know now how to configure vase to work in Surround 5.1 You also know how to use automations to improve the spatial dimension of the sound design of the project. Try to use all this knowledge to take all your sound design to the next level. Once you have your finished mix, it's time to export. We go to the file Tab and then we click on Sport. Then we click on Audio Mix Down immediately, this window will be displayed here. We're going to see the most important features of this window. The most important thing is that we are able to select which track we want to export. I highly recommend not get confused with this, We just have to select the output channel, the first one. But it happens that if I leave the exportation properties set like this, the software will support an exterior file. If your project is interior, it doesn't matter because that is your purpose, you know. But in terms of creating around 5.1 file, we must click on this box right here, split channels. And then all the tracks related to the round 5.1 mix will be export separately. And those tracks are the ones that will be later used to create the filed in 5.1 round format that is not created here, that is a special audio file. There are different formats such as DTS, for example, or video files that include several audio tracks. Note that the software gives us two options. Export two separate tracks or export the six tracks of the 5.1 So round after all this, you only have to click on a sport below. You must be very careful not to do other processes on the computer while the file is being exported. This tip has to do not only with this software, but also with video software. If you do other processes, you can create meter jumps in the file. I mean the export can be damaged. Well, that's all for this lesson until the next time. 29. Ending: Well this sound design courses have to hear. I hope you have enjoyed it a lot. I thank you very much for having come this far. Remember that you can ask me any questions you may have. Remember that it's important not to get stuck in the technical details of sound design. Remember that it is a creative process that must be fed by sound, good movies, and anything that sounds interesting around us. But above of all, never lose the will to experimentation until the next time. If you like this course, you can leave me a review. This will help me a lot to do, other courses like this. Thank you very much.