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Some Audio
I found this to be pretty useful, so I’m passing it along.
I cut a dialogue scene in a CC, where all the audio was left alone. Then the cc plays in a storyline and that is where I added the fx, especially the compressor that I set to 50-50 and I drop the audio to -12. What do you know it is all at a perfect level. There was no reason to futz around with each individual audio clip. I could apply EQ to the entire clip–dare I say it? Almost like bussing! Note: I’m also very careful to set the roles and I for clarity’s sake, I use the Jim Giberti technique of general organization.
Then I added FX and score, each of these were also a CC, to which I set levels and compressor setting at 50-50.
Wow! It sounded really good. (And I cannot overstate how much easier was than legacy.)
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11 Replies
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CC means Combined Clip? Just checking.
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Compound Clip…sorry.
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Closed Captioned. Color Correction. Chevy Chase.
You know, the basics! 🙂
If Apple can sort out the CC performance issues and implement a decent way to view the contents without losing sight of the entire timeline, they would go from pretty good to super awesome.
Jeremy
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CMD-[ and CMD-] is the short cut.
[Jeremy Garchow] “a decent way to view the contents without losing sight of the entire timeline”
I also keyword the CCs and then they are skimmable in the browser.
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[Richard Herd] “CMD-[ and CMD-] is the short cut.”
Yes, to open and close the cc, but it doesn’t allow you to adjust the contents of the cc without losing the focus of the overall timeline.
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Yeah Jeremy, this is one of the things that would/will make Compound Clips really useful – especially for stuff like complex audio tracks where you need to go back a forth a lot during a mix to tweak individual clips.
Probably the single biggest shortcoming of a great idea, is eliminating the context between the project and the CC.
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[Richard Herd] “I’m also very careful to set the roles and I for clarity’s sake, I use the Jim Giberti technique of general organization.”
Thanks Richard, I’ve always wanted my own branded technique.
Are you using a template to start like the one I posted?
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[Jim Giberti] “Are you using a template to start like the one I posted?”
Funny you should ask. The answer is yes, but your post was from October or so. I just assumed that’s how you did it. So your post the other day was exactly how I’d set up the audio. I guess I should’ve said something sooner.
To be sure, I don’t set up the pseudo-tracks first, but I do set them up when I get to them. That is, I am very careful to keep all dialogue with the original media in a CC. Then I don’t touch it. When the scene is cut, then I effect the CC audio, not the individual clips. I found the enhancement tab to be extremely useful, a nice compressor for example was quick and effective on the whole “track.”
After the dialogue was done. I created a quasi-track that I used for sound effects (lots of ocean ambiance in this particular cut).
Today, I shall do the music!
These pseudo tracks are all connected to a 5 second gap clip (a slate if you will) before the picture begins.
FYI: 10.6.8
Mac pro with 16 GB
X-1.0.2 (Because multicam doesn’t matter to me, I didn’t update. Glad I didn’t!) -
[Jim Giberti] “or stuff like complex audio tracks where you need to go back a forth a lot during a mix to tweak individual clips.”
That’s what I assumed you avoided with your Technique. I was really working hard to create a bussing system. That is, when the track is set as the primary, I put the various clips in there according to role. I created my own roles also. So each primary is a series of clips of identical roles, which is what I did in 7 btw. I kept dialogue on 1 and 2, for instance. FX on 3 & 4 and so on.
Then I make all of the clips on the primary an entire CC. And I only “mess” with the CC. First I set the dB to -12. Then I set the compressor in the enhancer window to 50-50. Then I apply EQ. I have not had a reason to jump into the clips. I can stay comfortably in the CC–which is also a Primary.
It would be nice to CMD-] and then wherever the playhead was positioned in the CC, that’s where I would end up in the clip. Seems like an easy fix.
Said it before, I’m gonna say it again: I sent Apple an enhancement note: Color Coded Roles not only do I want to define the role, I want it to be a definable color, so all my FX are RED–or whatever color I feel like.
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Two questions…
1. What is the Jim Giberti technique?
2. What do you mean when you say a 50/50 compressor setting for audio?
Thanks 🙂
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