 Hi everyone and welcome to Premiere video tutorial part 4 and this is sound So this is sound editing and sound mixing rather than recording So yeah, let's get going on Premiere video tutorial part 4 sound So in this session we have wave forms and track heights Mute and solo Importing sound from iTunes Track and clip mixes track and clip keyframes and Then normalize and clip gain at the end. Okay So let's get going with this So wave forms and track heights. Okay, let's get into Premiere So you can see by looking at this sequence down here that These track heights are really small and it's difficult to see what that's actually going on with these audio wave forms So I'm just gonna expand the sequence out into full screen using the tilde key So now if I want to see what's going on if I'm editing in wave forms I need to expand out my tracks and make it bigger but also when I expand the track out it will Open up additional menus that are going to help me in what I'm doing in my audio editing and mixing So it's really simple. You just hover Your cursor over the little line between the two tracks until it changes shape and then you grab that and Expand it down Don't be shy with it, you know, you need to see what's going on so you can make those relatively big and You can see now that we've got this additional menu here and this little This little O menu I'll show you what that does later But first of all, yeah, that's what you need to do expand out your tracks so you can see what's going on and Then the other thing we need to do this little spanner menu here If I just show you what's in here. So if we click on this banner menu, we have Show audio waveforms and so that's already turned on and in fact it defaults to being on in Premiere so mute and Solo, I don't think I need to go into Premiere for this one On each audio track you have a little M and an S So M stands for mute and S stands for solo So mute will turn off that track that you're working on right there So that specific track Will be turned off when you press mute so you can listen to all of the others but not that one Solo does the opposite so solo will turn off all of the other tracks and just leave that one track on that you've Clicked solo on It's just something that you you'll you'll understand as you start mixing and Listening to your audio back, you know, sometimes you'll need to turn tracks off and certain ones on So mute and solo are just really quick ways of doing that And they're very useful, and I'm sure you'll be using them quite a lot in your audio mixing Okay So importing sound from iTunes any sound that you import into your project first of all, you need to make sure that that Audio file has been saved in a place where you can always find it Because in the same way that Premiere references video it references sound exactly the same so That means that if your sound file moves from where it was when you were editing Then Premiere will no longer be able to see that sound file and it will become It'll become missing from your project So Premiere always needs to know where that sound file is So the best thing to do with that is put it into the audio folder of the folder structure that we created right at the very beginning and Then import that file from the audio folder, and then you'll always know exactly where it is and where it came from Before you do that Importantly if you've downloaded anything from the internet, it's more than likely going to be an mp3 format An mp3 format is not the best format for for editing with In any kind of software to be honest So what you need to do is you need to convert that into either a WAV or an AI FF both of those are exactly the same type of format They're uncompressed audio and the way you do that in iTunes iTunes changes its menu quite a lot. So I'm not going to show you in iTunes exactly because it'll probably be different in the next version of iTunes basically so But at the moment what you do is you you open up iTunes You go into iTunes preferences in the iTunes menu in the top left hand corner you go into iTunes iTunes preferences and You go to this one here general and You go to import settings and You select custom. Sorry. First of all, you select import using AI FF encoder. So you select that from the drop-down menu Then you choose Custom select custom and this window will open. So you then select 48 kilohertz sample rate 16-bit sample size and Auto channels that means if it's mono or stereo, it will stay mono or stereo and then you click ok ok and ok and Then then what you do is on the file that you've imported into iTunes you right-click that file and select create AIF version and then it will create an AIF version or one version whatever Well, we selected AIF. I mean so AIF version And it will create an AIF version in your song list then you just simply drag from your song list into your audio folder and then import from Premiere directly from the audio folder into your browser window and there you go and I Know I can't go through all of the possible Software options and some of you will be using Windows Computers The main point is that you need to create a Wav or an AIF if you're working on a Windows computer It's more than likely going to be a WAV file, but that's fine as well With these settings sample rate 48 kilohertz 16-bit sample size or bit rate that sometimes called and Automatic channels So and And that's the format that you need to edit audio Once you import it into Premiere Okay So track and clip Mixers so this is getting into the actual Mixing of audio now So I'll go into Premiere the way the audio is mixed in Premiere It's kind of split into these two main categories So you have a clip which is each one of these individual little Clips here are called clips and then you have a track and that is each one of these a 1 a 2 a 3 a 4 etc. They're all tracks. So this entire set of audio is a track and Each one of these things is a clip Okay, and you can mix these These this audio either by track or by clip So let me show you if I go back into the main window So the idea I can mix in two ways and one is with a mixer and I'll show you the other one after that so You'll notice that if I Select a bit of audio here and go up to my source window I've got this little thing here audio clip mixer. So I'm going to select audio clip mixer and Every one of these clips has a little slider attached to it. So this one here Has a slider So if I can change the volume of that one, you can see that that this little line here goes down When I move the slider down and up Because this little line is also a level control So this slider is a level control and it's the same Same one as that basically those two are linked So I can turn up the level with that one and when I play that through So as soon as it hits the next clip it jumps down again, and that's because that clip It's level is still set at zero dB where it started. So each time we hit a new clip this Little slider jumps back to where it was or it will jump to wherever we place it So you can keep placing that slider in a specific position and Each time you play through it will remember those positions and play back So what you're doing there is you're mixing the volume depending on the position of that slider Okay And if I had more tracks Down here if I had audio on track 2 and track 3 then there'd be sliders along here as well Track mixer and the way I can get that one open is by going up to the window Scroll down audio track mixer and Now Every time I change one of these I'll put this back to where it was a slider Every time I change one of these so these are now linked just to the tracks So now if I play When this plays through to the next clip It doesn't change position because it's set per track Whatever you set it at it will stay at that for the entire track. Okay, so you can mix Your tracks depending on their relative levels Using these sliders like that and they will stay where they are for the entire track playback Okay, so that's how you mix using sliders or Mixers Just undo those put them back where they were so that's mixing with sliders and tracks So the next thing that we mix with is Keyframes so we also have clip keyframes and track keyframes In the same way that we have clip mixes and track mixes So back into Premiere. So now Back to this little line here This little line is my clip Keyframe mixer and not only can I change the level Using the entire slider like that or the entire line This little menu over here add and remove keyframe if I click that I get a little tiny dot in there I don't know if you can see that and I can move that on and add another one and Another one etc And then I can go over to these dots. I can grab them and I can move them up and down So that will automate my level control It will make my volume go up and down as it follows that sort of line there basically Okay, so one important thing to remember about these as well is as soon as I add a keyframe Onto my line here, then it will override anything that I've done in the mixer so When you're mixing you should only ever use the mixers or the keyframes Don't you you can't use them both at the same time basically so don't spend a long time setting the the audio levels levels with the mixer and then start adding keyframes because all of your work on the mixers will Be wiped out So basically these keyframes will override anything that you do in the mixers Okay So like I said, not only can you use clip keyframes? But if I go over to this O menu that I mentioned earlier So not only can you use clip free frames? But if not only can you use clip keyframes? But if I go over to this menu that I showed you earlier this O menu If I select that one and scroll down to track keyframes and select volume Now I get another line but this line Because it's a track line. It goes through my entire track and I can add keyframes to this In Exactly the same way, but now this is going to affect the entire track Okay So a couple of things important things to remember I'm going to go back now using the O menu to my clip keyframes and you can see that they are still there and Whichever one of these Views that I'm looking at either clip or track keyframes doesn't matter which one I'm looking at Both those sets of keyframes will still be working. They'll still do what they're set to do Even if you've got clip keyframes and track keyframes doing the opposite thing That will they'll sort of work together and kind of cancel each other out and you know depending on what they're doing They will all be working at the same time. So just because you can't see them It doesn't mean that they're not working Okay, so just remember if you've got some weird volume thing going on that you can hear but you can't see You can't figure out why it's there then it's quite possibly because It's on a clip keyframe, but you're looking at the track view something like that. Okay, and And The reason why you would use these You'll probably come to understand it as you get editing But basically the important thing to remember is that track keyframes Always stay where they are. So if I move my clips around the track keyframes stay Stay there. They will stay on an empty frame other important thing to remember actually is I Can't actually move Clips when I'm in track keyframe view. It won't even let me select them. Okay So I have to go back to clip keyframes view and Now I can select let me expand this out so we can see it again. So I can move this clip And if I move this clip To a different track, let's expand that out one so you can see that one as well So because I'm in clip keyframe view This these clip keyframes have stayed with the clip and no matter where I put this clip The keyframes will stay attached to it Okay If I go back to track keyframe view now on this track You can see that my track keyframes have stayed where they are Even though I moved the clip that this that was underneath them These have just stayed exactly where they are And you will start to realize why that's important as you get editing So you could for example Be editing the level on a piece of music But however, you know that that's not the final piece of music You know that you're going to have to swap that music out at some point How but the the levels will still be the same whatever music you use because you might need to dip it out for a bit of dialogue That dialogue will always be in the same place. So the dip will always need to be there in the music But the music track you might need to swap it for something else. So if you take that track out Um, you don't want to have to redo all your keyframes So if you do them on the track Then you can take the music out add the next music back in and the dip will still be exactly where it was when you created it um Or you know conversely if you're working on a piece of music that you know is the final piece of music But it's not necessarily in its final position um Then and and you need and you're thinking well at some point I'm going to have to move this music But I don't want to have to redo all my keyframes when I do that Then you need to use clip keyframes because you can you know, you can move the clip And the keyframes will go with it. Okay so both of them very important ways of mixing your levels and Both of them important in their own way and depending on what you're doing You'll choose one or the other. Okay So one thing that I need to tell you at this point as well is as you're mixing your audio You may have lots of audio files or clips stacked up together um And each one of those might be at a decent level um but The more you stack together the more that level is going to go up the cumulative effect of of all those audio clips It's going to get louder and louder and louder You don't want your overall Volume level to get so loud that it starts distorting um so back out of that view and These level meters here if I just scrub through a minute You can see that these level meters Uh jump up and down with the green sort of lights And you need to make sure that your overall volume level Doesn't come above minus 12 So you might have to adjust each one So that the overall level doesn't come above minus 12 um So that's the sort of technical standard that you need to stick to the rest of it is just about listening to What's loudest, you know, what needs to be the loudest in in that particular part of the film, you know I can't tell you Exactly what your dialogue should be in relation to your music because that depends on How it fits with the with the you know with the dynamic of the of the film itself So you have to work that out um But the overall level should not go above minus 12 um Also, you need to keep that relative So if you've got a really loud part of the movie with loads and loads of clips all happening at the same time And that's at minus 12 Then later on another part of the film with uh, just a really quiet dialogue section Then that will probably need to be lower than minus 12 Otherwise your quiet dialogue is going to be the same level as your loud scene, you know And the film won't have any sort of dynamics if that's the case So quiet bits should be quiet loud bits should be loud Um, but the overall level should should not mix over minus 12 Okay so Finally normalize and clip gain. Um a couple of little tricks here, I suppose for you, um so if I Choose let me go back to clip view If I select I'm going to put that back where it was as well If I select this clip for example, if I decide That this clip is is basically too quiet and not only is it too quiet, but when I Raise the volume all the way to the top It's still too quiet. Um So there is a way around that Um, and I'll show you what that is. So if I right click on this clip I'd go up to audio gain Select audio gain I get the audio gain window and in this audio gain window I get to adjust the gain, but I can also Normalize so I'll talk about gain first. So gain is just another way of of boosting level basically So if I could put Three db in there and if I click okay You'll notice that the waveform jumped just a little bit. Um, let me just show you Let's do that again right click Audio gain Let's put 20 in there and it's highly unlikely that you would ever do that But um, just to show you what happens and then click okay And now you can see the waveform is much louder um So that's a way of boosting your gain. Um, or level Two words meaning the same thing. Um, the problem with this is Let me right click again audio gain Let's add another 20 in there. Okay, but now It's going way too hot. You can see that the waveform is practically white whiteing out. Um There's a really hard white line at the top of here, which means This audio is peaking way too loudly Um, it's going to go into the red and it's going to distort like hell and it's going to sound awful So like I said before anything that goes above minus 12 It's okay until it creeps up to the zero line as soon as it hits the zero line Then you'll get two red lights on the top of here And it will start to distort and digital distortion is horrible, you know, it just it's it's there's never a good good reason to use it. Um So uh, you need to avoid that at all costs. Um So rather than do the gain thing, let's just undo and undo If I right click that again go to audio gain So adding gain is fine, you know, if you do it in small increments, um But you you can end up going too far if you're not careful And let me just if you just see this little little peak here That's just a little peak where the audio gets particularly loud at one stage, you know um If I boost the gain to a certain amount it boosts the whole Um waveform an equal amount So, um, I might boost it so far And the whole thing will be fine apart from this little peak here that little peak might just poke up above zero and cause a bit of distortion and That's no good. Um So let me show you how to avoid that. So if I go again right click audio gain And if I click normalize this time Normalize maximum peak to zero db That means it will take this little peak here. Um, if that is the the maximum peak, which it looks like it is And it will raise that peak Up to zero db but not beyond it. Um, so that it won't distort it And it will keep it nice and happily just at zero db, which is the loudest possible um thing it can be And all the rest of the audio will be boosted up as well. Um, but Just just so you know, what's happening there is, um It's making sure that whatever the loudest peak is Is not going to distort all the rest of the audio will go as loud as it can Um, but that peak will not go above zero db If you're aiming to have your whole audio hit minus 12 Then why don't you? Normalize maximum peak to minus 12 Then you know that no none of that audio is going to go over minus 12 And the issue there is that you've only got one of these maximum peaks So there's only one point where your audio will actually hit minus 12 the rest of it will be a bit lower. So If we know that the maximum peak might be a bit louder Let's just do that to minus eight maybe Minus eight being louder than minus 12 And if I click okay now So that's boosted my entire signal so that this peak Should be minus eight and the the rest of it, which is a bit um quieter should be about minus 12 Or thereabouts And you know you can keep adjusting that Until you get it exactly right um just bear in mind that if I If I normalize again now, it's going to normalize on top of the normalization that I just did It's not going to sort of cancel that one and start again It's going to do it on top of the one that I've just done Um Okay So there you go. I hope that that is enough Tips and tricks for you to get mixing and editing your audio That's the end of premiere video tutorial part four sound um, there will be another um advanced sound tutorials. So look out for that one too few additional um tips and tricks in that one Um, but for now, thanks for listening to this and I'll see you in the next video. Cheers