Alchemy supports the playback of Apple Loops as well as standard .wav audio files and can manipulate tempo and pitch in realtime. Alchemy’s sophisticated synthesis engine can transform loops with multiple forms of resynthesis and an abundant collection of filters, modulation and effects racks. This presentations introduces some of these new features.
Taken from a white paper called, ‘Logic Pro X, Elemental Morphing in Alchemy’. Located at, https://fdocuments.in/reader/full/logic-pro-x-elemental-morphing-in-logic-pro-x-elemental-morphing-n-alchemy-morphing.html. August 2015
Alchemy supports the playback of Apple Loops as well as standard .wav audio files and can manipulate tempo and pitch in realtime. Alchemy’s sophisticated synthesis engine can transform loops with multiple forms of resynthesis and an abundant collection of filters, modulation and effects racks. This presentations introduces some of these new features.
Taken from a white paper called, ‘Logic Pro X, Elemental Morphing in Alchemy’. Located at, https://fdocuments.in/reader/full/logic-pro-x-elemental-morphing-in-logic-pro-x-elemental-morphing-n-alchemy-morphing.html. August 2015
Teaching Creativity Using Apple Final Cut Pro XHans Mundahl
This is the presentation I gave at the Apple ProTools event in Natick, MA in June 2014. I talk about the power of stories, tell a few of my own, and share the process I use to teach students the workflow of having an idea, making it funny, and bringing that idea to the screen.
Since Audacity is the perfect tool for mixing several tracks together and fading in/out
different tracks, it makes it the perfect tool for podcast or radio show creation.
New way to record. This idea is important because Audio tapes, video tapes are declining. Fortunately, there is no limit how long you record it on the computer when using the boom box, the portable radios and more....
Do you play Dota 2? If yes, you must know Medusa hero. Valve Corporation and especially Gabe Newell decided to develop the game from a mode in Warcraft 3 since 2011. It was a huge success. Today, you can have more fun playing and increase your MMR with voice chat as: Medusa voice.
How to Use AudioMass.Co (Podcasting 101).pptxgeekhouse.io
AudioMass.co is a free, open-source audio editing software that provides basic audio editing capabilities for podcasting and audio production. This presentation will guide you through the features and functions of AudioMass.co, and demonstrate how to create, edit, and export your podcast. We will cover how to import audio files, navigate the waveform editor, perform basic edits such as cutting, pasting, and trimming, and add audio effects such as volume control and equalization. We will also show you how to mix multiple audio tracks together to create a final podcast and export it in different file formats. Additionally, we will provide tips and best practices for using AudioMass.co effectively and offer resources for further learning and improvement. However, it is important to keep in mind that AudioMass.co is a free, open-source software and may have some limitations compared to more advanced, paid audio editing software.
Teaching in the Distracted Age: What Students Expect from Online Courses - P...Samuel Edsall
Most students today will enroll in at least some online classes during their academic career. However, online pedagogy has a reputation of lacking interaction, instantaneous communication, or visual tools to assist in instruction. The purpose of this presentation will be to share student expectations in an introductory media online class and how these expectations were met through the use of social media, smartphone applications, and screen-capturing applications.
Securing Attention: How to Teach the Selfie Culture - Serena CarpenterSamuel Edsall
A common theme among futurists is that the individual is king. This perspective challenges traditional approaches to teaching students. This presentation will address how to teach to students immersed in selfie and performance cultures.
Digitizing the Classroom for the Online Environment - John HebbelerSamuel Edsall
The focus of this presentation will be on the conversion and application of a traditional media production course to an online class. Topics include the process involved in converting the traditional classroom experience to an online environment, effectively presenting information to users in the online environment, evaluation of digital media projects, and digital tools that enhance online pedagogy.
Applying Classroom Research to Improve Online Course Communication - Paul He...Samuel Edsall
We know a lot about what stimulates students in the classroom--but can we apply it to online coursework? There are a number of routes to effective teaching, even online--here's what the research says, and what you can do to move from just "high tech," to "high touch," online.
Education on the Move: Mobile Technologies, Online Platforms, and Pedagogy - ...Samuel Edsall
Education with mobile technologies and online platforms is, for the most part, education on the move. It is education that is convenient to populations of students who for whatever reason cannot commit to site- and time-specific class meetings. This kind of education serves a good purpose, by making education available to demographics of students, who, without mobile education, may not have any education. But in order for convenient education to produce quality learning, instructors must organize and structure the mobile and online presentation of educational content methodically and carefully. In a brick-and-mortar classroom, where course instruction occurs in a set place and time period, the regularity of place and time provide structure. With mobile and remote education, it is in the interest of both instructors and students for instructors to determine precisely when students will engage with educational content. Structuring the availability of learning information structures the educational experience. Structure can be created in a number of ways with technology: by date and time control mechanisms built into e-learning systems, with specialized client-side soft- ware, as well as with server-side controls on the computers storing the instructional data. With remote instruction, the technological framework is responsible for the
success of the pedagogy.
Social Media: Expanding Pedagogic Opportunities in Film and Television Produc...Samuel Edsall
Social media has changed the way television and films can be produced. Producers in New York can interactively discuss scripts, storyboards and rough cuts with their contacts in Los Angeles via on-line or via mobile devices and applications. The implications for integrating mobile media technology into higher education curricula and pedagogic methodology are equally transformative. For faculty teaching film and video production, mobile media can provide students with access to an infinite number of resources that exponentially expand what can be taught, how it can be conveyed, and where learning can take place.
At the University of Cincinnati a group of thirty-three students from four academic programs in three different colleges utilized a variety of social media technologies to experience an interdisciplinary class that was "team-taught" by both their UC Professor and professionals from the film and TV industry in LA and NY. Their work resulted in the 2012 Gold Rush Expedition Race documentary, an hour-long film that will air this March on a national cable television channel.
Mobile Technologies as Course Research Tools - BEA 2014 Presentation by Dr. D...Samuel Edsall
This presentation details the use of mobile technologies, such as smart phones and tablets, as important instructional research components in a global social media course. Examples will be provided relating to the research procedures, mobile technology implementation and designed academic activities that illustrate beneficial and enhanced student learning.
An introduction to Autodesk Smoke as taught by Professor Sam Edall using clips from FCP7 Quest media files. This first lecture shows the Media Hub and Timeline interface.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
1. Lesson 8:
Working with Sound
Apple Pro Training Series
Final Cut Pro X, 2nd Edition
Instructor: Sam Edsall
2. Working with Sound
• We „watch‟ TV, but sound should never be
underestimated
• Dialogue, voice-over, sound effects, and music
when properly selected and combined, draws the
audience into a more immersive experience
The unsung hero
• Sound that‟s too loud, too soft, poorly mixed will
make your audience restless and frustrated
On the other hand
3. Working with Sound
• Evaluate the current status of your primary audio in
your project
• Sound bytes and narration
Before adding music and SFX
• Is it at the proper level?
• Are the levels consistent from clip to clip?
• Is the nat sound from your B-roll too loud to hear
the voiceover?
What to check
4. Working with Sound
• Using the Audio meter and clip
waveforms as guides to correct
audio levels in the timeline
• Once you have optimized the
current settings, you will be
ready for the next steps in
sound design
How to fix
5. Create a New Project
Make sure your external
drive is booted and on your
desktop.
Choose File > Open Library
> LESSON 8
If you don‟t see LESSON 8
choose Other and then
select LESSON 8
6. Preparing the Project
From the Library select the Zero to Hero Mix project and
duplicate and title it ZTH Mix Done and load into the
Timeline.
7. Audio Meters
• Small Audio meter in
the Dashboard
• Large Audio meter
pane that opens in the
timeline
Two choices
• Click on the smaller
audio meter in the
dashboard
Open Audio pane
8. Open and Adjust the
Audio Pane
In the toolbar click the
small Audio meter icon to
open the large Audio
meters pane to the right of
the timeline.
Increase the size of the
meters by positioning the
pointer between the audio
meter pane and the
timeline and drag left.
9. Audio Meters
• As audio approaches
0 dB the level color
changes from green to
yellow
• When the audio level
exceeds 0dB, the level
color turns from yellow
to red
• Peak indicators on top
turn red if the level
exceeds 0dB
Monitoring the level
10. What is a Good Level?
• No audio should
exceed 0dB or the
sound will be clipped
and distorted
• Set the primary audio
around -6dB
• Dialogue and
narration
• Set secondary audio
around -15 to -18dB
• Music and SFX
Shoot for - 6
11. Monitor the Levels
Play through the project and monitor the audio
levels.
Notice that the music gets too loud around the
20 second mark so that it will need adjusting.
First, let‟s get the primary sound optimized
before the music.
12. Controlling Audio
• Focus on the primary audio
first and get that optimized
• Then work on secondary
audio sources like music
and SFX
One thing at a time
• Disable secondary audio
sources while you work on
the primary sources
• Once done, turn them back
one and optimize them
How
13. Have a Better Look
In the timeline, click
the Clip Appearance
button.
Select the second clip
appearance from the
left so you can see the
audio waveform better.
14. Controlling Audio
Shut down the
music:
Command-click both of
the Battle lines audio
clips and press V to
disable them.
15. Controlling Audio
• Isolates the sound
from one or more clips
so that‟s the only
sound you hear
Sing a solo
• Select the Solo button
on the Toolbar or
select then press
Option S
How it‟s done
16. Controlling Audio
With both cuts of
Battle Lines music
selected, press V to
enable both the clips.
Deselect the clips by
clicking on an empty
space.
17. Controlling Audio
Select the three John
Force interview clips.
Click on the Solo
button in the Toolbar
or press Option S.
Press the Solo button
again to return normal
playback.
18. Controlling Audio
Select the first Tony
Schumacher clip and
press the Solo button.
Watch the audio
meters.
--notice that the level
peaks during the
sound bite.
19. Controlling Audio
• Video and audio clips
will show yellow and
red audio peaks
indicating where the
audio is near or at
0dB
• This is the same color
coding displayed in
the audio meters
What you see
20. Controlling Audio
• Click on the horizontal
volume control line
and drag up or down
Fixing the audio
• Pop-up window will
indicate the current dB
setting
Indicators
21. Controlling Audio
Fix the audio:
Move your pointer over the
horizontal volume control
line.
-- shows you the current
dB setting of 11dB
Drag down to 4dB and
release.
Play the clip.
22. Comparing Audio
With the Tony Schumacher clip selected, Command click
both Tony Pedregon clips.
Solo these clips and then play them all.
-- Tony P is too low.
23. Controlling Audio
• Modify > Volume > Up
or Down
Menu options
• Volume up
• CTRL = (+)
• Volume down
• CTRL -
Shortcut options
24. Comparing Audio
Command click the Tony Schumacher clip to deselect it.
-- now we can fix the Tony P clips.
Choose Modify > Volume > Up or press Control = 6-7
times to raise the clip levels to 4-5 dB.
25. Return Things
Back to Normal
Press the Solo button so all the clips are activated again.
26. Controlling Audio
• Set start and end
points in the clip that
needs adjusting and
change the levels
• Then just drag the
audio to a new level
When part of a
clip needs work
27. Controlling Audio
Solo, then play the last Tony
Schumacher clip
-- first 2 seconds the audio is
low
After Tony says, “People
dream” press O to set an
End point.
In that range drag the volume
up from 2 dB to 4 dB.
28. Controlling Audio
• FCP creates key
frames to ramp up the
volume of the selected
area, then back down
for the remaining
portion of the clip
What
happened?
29. Controlling Audio
This byte is still a little soft. Select the whole Tony
Schumacher clip.
Press Control = three times to raise the clip‟s dB by 3
dBs.
Turn off Solo.
30. Controlling Audio
Fix some more audio:
Select the 2 Antron Brown
clips and lower levels by
2dB
-- CTRL & - to get levels
out of red
Select both Battle Lines
music clips and lower levels
by -10 dB
-- CTRL & - to get levels
out of the red
31. Controlling Audio
Fix some more audio:
Raise the Crash clip level
by +10 dB (-17dB to -7dB)
Lower the JF hold
trophy, flame out and race
start clips by -15dB.
-- press CTRL – a bunch of
times so it looks like Crash.
32. Audio Sweetening
• FCPX has a sound library
with SFX and music that is
free to download
• Select FCP > Download
Additional Content
• Oddly, if you had this
content from an earlier
version of FCPX, you will
need to download it
again
Free Stuff for You
33. Audio Sweetening
• Adding music and
sound effects to a
project
Sweetening audio
• Music and Sound
Browser has over
1,000 royalty-free
music and sound
effects to sweeten
your project‟s audio
Content
34. Sweetening Audio
Sweeten audio:
In the toolbar click the
Music and Sound
Browser.
Click on the dimple in the
middle and drag down
about half way.
We will add some SFX to
the crash clip
35. Music and Sound
Browser
• Folders and sub-folders of
music and SFX files
• Source folders from iTunes
library and Garage Band
Top window
• Files from the selected
folder on top
Bottom window
• Help you find a particular
file name
Search window
36. Sweetening Audio
Sweeten audio:
In the top window select the
FCP Sound Effects folder.
Scroll down to the
Explosion 6.caf file and
double-click the file to play
it.
37. Make a Keyword
Collection for SFX Clips
In the Event Browser,
create a new Keyword
Collection in the Zero to
Hero Event, label it Crash
SFX
38. Add Some SFX
Drag Explosion 6.caf
into the Zero to Hero
Event.
Select the Explosion 6
clip, then press Control
3 to add it to the
keyword collection.
39. Sweetening Audio
In the Search field, type „auto‟
to locate Auto Crash
Concrete.caf and Auto Skid
1.caf
Click the Play button to play
them, then drag both of
them to the Crash SFX
Keyword Collection.
Close the browser when done.
40. Adding Sound to
Connected Clips
• Once connected clips
are where they are
needed, combine them
into the primary story
line
• Easier to see what you
are doing when
connecting music and
SFX clips
Make things
easier
41. Sweetening Audio
Select both Battle Fields
music clips and press V to
disable them for now.
Control click the crash clip
and choose „Overwrite to
Primary Storyline‟
Place the play head to the
first frame of the crash clip.
42. Sweetening Audio
In the Event Browser select
the Auto Skid 1 clip.
Drag to select the first 27
frames and press Q to
connect edit this SFX to the
Timeline.
43. Sweetening Audio
In the Event Browser select
the entire Auto Crash
Concrete clip.
Press Q to connect this
entire clip at the end of
Auto Skid 1 clip.
44. Layering Sound
• Rather than have one
sound finish before the
next sound starts,
overlapping the SFX
may provide a more
realistic overall sound
effect.
Overlap sounds
45. Sweetening Audio
In the Timeline park the play
head at 12:42.
In the Event Browser select
the Explosion 6 clip and
select about the first 2
seconds of the clip, and
press Q to connect edit this
clip
Lower the volume of all three
clips to -14dB and check your
levels.
46. Grouping Clips
• Collecting separate
SFX clips into one
group by making a
compound clip will
keep you from
accidentally separating
or moving individual
clips
• Neatens up your
timeline, too.
Compounding
audio clips
47. Grouping Clips
Drag a selection rectangle
around the three sound
effect clips, then Control click
and choose New Compound
Clip
--Option G
Name the new compound clip
Crash SFX
48. Turn the Music On
Select both Battle Lines
clips and enable them by
pressing V.
Check out the mix with
music and SFX.
49. Using the Audio
Inspector
• Another way to adjust
the sound of a clip
• Other features to add
effects and filters to
enhance and improve
the quality or style of
the sound
The Inspector
50. Using the Audio
Inspector
In the Library duplicate the
Delicious Peace_mix project
and save as Delicious Peace
Mix Done and load into the
Timeline.
Shift Z to see the whole
project and play the timeline.
We will first focus on the
primary audio – Ed O‟Neill‟s
voice over.
51. Using the Audio
Inspector
Select over all the voiceover
clips and press Option S to
solo these clips.
Skim to the first clip VO_10
and press / to play the clip
and check the levels
-- a little hot – over -6dB
-- all these clips are a little too
high
52. Using the Audio
Inspector
In the toolbar select the
Inspector icon and click the
Audio tab.
Double-click the Volume field
and type 6
Look at the voiceover
waveforms in the timeline and
press Return.
--lowered levels by 2dB
53. Using the Audio
Inspector
Press Option S again to activate
all clips
Select the 2nd xylophone music
clip and skim to the beginning.
In the Inspector drag the Volume
slider left and right and settle on
a volume level of -24dB
Set the other xylophone clips to
-24dB
54. Using the Audio
Inspector
• By dragging your
pointer in the Volume
field you can raise or
lower the absolute dB
level
• If you have 2 or more
clips selected you can
raise or lower the
relative dB level of the
selected clips
Up/Down Arrows
55. Using the Audio
Inspector
Skim over the woman picks
beans, man picks beans and
beans being hulled clips.
-- each has a different dB
setting
Select all 3 clips and in the
Inspector Audio tab, drag the
arrows down until the peak of
the 3rd clip is below the
volume control line.
56. Using the Audio
Inspector
• Directing the sound
from one speaker to
the other
• Like the balance knob
on your stereo
Panning
57. Using the Audio
Inspector
In the Audio Inspector, click
the Pan Mode pop-up
menu, and choose Stereo
Left/Right
In the timeline press Shift Z
to see the whole project.
Select the 2nd xylophone
clip and press Option S to
solo it.
58. Using the Audio
Inspector
Press / to play the clip.
In the Inspector drag the Pan
Amount slider right and left to
move the music to each
speaker.
Check the audio meters and
notice how the levels increase
the decrease depending
where you send the sound to.
59. Using the Audio
Inspector
To the far right of the Pan
Amount slider, click the
animation menu and choose
Reset Parameter to center
the Pan Amount.
Press Option S again to
enable all the clips again.
60. The Four Steps of
Sound
• Speed at which the sound moves from silence to its peak
level
Attack
• Time a sound moves from its initial peak to the sustain level
Decay
• The main duration of the sound
• How long it lasts
Sustain
• The time it takes for the sound to decay back to silence
Release
61. The Four Steps of
Sound
• When editing clips, the natural waveform shapes
are often cut off at the beginning and end of a clip
The problem with A-D-S-R
• To fix the chopped waveforms, you change or
„ramp‟ the sound levels by applying fades and
crossfades
The solution
62. Adding Fades &
Crossfades
Select Zero to
Hero_fades, duplicate and
rename to ZTH Fades Done
and open in the Timeline.
Place the play head at the
beginning of the project and
zoom into this location.
Change the track height so
you can see the audio tracks
better.
64. Adding Fades &
Crossfades
Select the fade handle at the
end of wall low angle and
drag left until at the beginning
of the track below it (-1;10)
Adjust the fade handle of
crowd ots right so the fade
ends at the end of the upper
track (+1;09)
Option S to turn off solo and
play the new mix.
65. Fade Options
• The fade changes at a constant rate
Linear
• The fade eases in and out with a midpoint at 0dB
S-Curve
• The fade starts slowly and then moves quickly to the
end
• Default fade
+3 dB
• The fade starts quickly and then tapers off at the end.
• Good choice for a fast fade-out
-3 dB
66. Adding Fades &
Crossfades
Press Shift Z to see the whole
timeline.
Select both Battle Lines clips
and Option S to solo them.
Play the last few seconds of
the 2nd Battle Lines clip while
looking at the waveform
-- steep fade cuts into the final
beat
67. Adding Fades &
Crossfades
Place your pointer over the
clip‟s fade handle to select
it.
2-finger click it to open the
shortcut menu and choose
+3 dB, then play the clip.
68. Audio Crossfades
• In order for two audio clips
to crossfade, they must first
be turned into a storyline
Transition = storyline
• Select the audio clips that
need crossfades between
them
• 2-finger click for the shortcut
menu or press Command G
How it‟s done
69. Adding Fades &
Crossfades
While the two Battle Lines
clips are still
selected, Control click one
of the clips and choose
Create Storyline from the
shortcut menu.
Click off the clips to
deselect them, then select
an edit point between the
two clips and Command T
to add a crossfade.
70. Adding Fades &
Crossfades
Option S to enable all the
clips again.
Move the play head to
5:10, select B for the blade
tool and cut Battle Lines at
this point.
Move the play head to
18:40 and cut the clip
again.
71. Adding Fades &
Crossfades
For the new clip that begins at
5:10, drag the volume control
down to -13 dB
For the last clip that begins at
18:40, drag the volume
control down to -16 dB
Select the last two Battle
Lines clips and press
Command T to add
crossfades to all the clips
72. Recording Voiceovers
• Allows you to record
straight to your laptop
• You can record several
takes of yourself
reading narration
• Using the Audition
feature, you can
choose which is the
best take
Record Audio
feature
73. Recording Voiceovers
• Laptop‟s built-in microphone
• Not good since it will pick up
other sounds including
computer noises
• Hard drive spinning
• Plug-in USB microphone
• Good idea since the source is
focused on you and nothing
else
• Check them out in the
equipment room
Microphone sources
74. Recording Voiceovers
Go back to the Delicious
Peace_mix project you
saved.
In the Event Browser, select
the Delicious Peace Event.
In the timeline play the VO_10
clip at the end of the project to
become familiar with its
content, then press V to
disable it.
75. Recording Voiceovers
Turn down the volume of
your laptop.
Move the play head to the
beginning of the disabled
VO clip.
Choose Window > Record
Audio
76. Recording Voiceovers
Set the following options:
Destination: Delicious Peace
Input Device: Built-in
Microphone (or your USB
mike)
Gain: 2-3
Monitor: leave off unless you
are wearing earphones
77. Recording Voiceovers
In the Record Audio
window, click the Record
button and read the CG in the
Viewer.
Press the spacebar when you
are done
--you can also click the record
button again.
--your VO is saved in the
Event and attached to the
primary storyline.
78. Auditioning Voiceovers
• You can make multiple
takes of your VO, then
audition them to see
which one is the best
on the timeline
Choosing the
best take
79. Recording Voiceovers
Record 2 more takes
changing the emphasis on the
words in the CG.
When done you should have 3
VO‟s under the original one.
Keep your first VO, but delete
the other two from the timeline
for now.
80. Auditioning Voiceovers
In the Event Browser, select
Voiceover 2 and
Voiceover 3 and drag them
onto the Voiceover 1 clip.
From the shortcut menu
choose Add to Audition.
81. Auditioning Voiceovers
Notice the audition spotlight
icon on the clip.
Click the Audition icon to
open the audition filmstrip.
Press the left and right arrow
keys to select which voiceover
to audition.
Turn up your volume and play
each take then choose the
best one.
82. Correcting Problem
Audio
• Part of the Audio
Inspector
• Takes care to audio
problems like
hum, background
noise and loudness
Audio
Enhancement tool
83. Correcting Problem
Audio
In the Library select Fairly
Legal_hum and duplicate as
FL Hum Fixed and open in
the Timeline.
In the timeline, select the 4A-2
110(B)_hum clip and play it.
-- how‟s it sound?
-- let‟s see if the hum has
been fixed yet
84. Correcting Problem
Audio
Open the Inspector Audio tab
and open Audio
Enhancements.
Loudness = OK
Background = Yellow – could be
trouble
Click in the box by Hum
Removal to turn it off and on and
listen to the difference!
85. Correcting Problem
Audio
• The equalization pop-
up menu allows you to
enhance audio in the -
• High-end
• Midrange
• Low-end
Equalization
86. Correcting Problem
Audio
In the upper-left corner of
the Audio Enhancements
pane, click the arrow to
return to the Audio
Inspector.
Click the Equalization pop-
up menu and choose Hum
Reduction and listen to
your clip again.
88. Correcting Problem
Audio
Play the first clip 4B-
1_110(B) and notice the
audio level when the stack
of papers are dropped to
the desk.
We will fix this spike by
adding 3 key frames and
then lowering the middle
key frame.
89. Correcting Problem
Audio
Zoom into this clip so you
can see the peak clearly.
To set a keyframe on the
spike, Option-click on the
volume control line where
the spike is.
Move the skimmer to 1:00
and 2:05 and Option click
to set down 3 points.
90. Correcting Problem
Audio
Click on the middle
keyframe
--turns into a yellow
diamond
Drag the keyframe down
until the info flag reads -2
dB
Play the clip and check
your audio meters.
91. Shortcuts
• Raise the audio level by 1 dB
Control = (+) while
pointer on audio
control
• Lower the audio level by 1 dB
Control – while
pointer on audio
control
• Enable or disable a clip for
playback
V
• Solo selected items in the
Timeline
Option S
92. Shortcuts
• Create a keyframe
Option click on a
clip’s volume
control
• Create a new compound clipOption G
• Create a storyline from a
selection of connected clips
Command G
• Add a cross dissolve to the
selection
Command T
93. Homework Assignment:
1. Load up the ZHH Mix
Done project you made.
2. Fix all the audio and SFX
in the project and make
sure the balance is
correct.
a. I should hear the
added crash SFX
sounds on the crash
portion of the project.
3. Share as an iPod video
and post on iTunes U as
(your name) HW 8.m4v
94. Lesson 8:
Working with Sound
Apple Pro Training Series
Final Cut Pro X, 2nd Edition
Instructor: Sam Edsall