Sound Editing in Final Cut Pro X - iTunes/iPad Edition
Audio is critical to the production quality of any film or video project. Unfortunately, video editors rarely know enough about sound to make the adjustments required to create a high quality soundtrack. Sound Editing in Final Cut Pro X was created to help you improve your soundtracks, teaching you the fundamental principles behind Parametric EQs, Compressors, Noise Gates, Foley, Surround Sound and more. You'll also learn when to use Final Cut Pro X's automatic enhancement tools and when to avoid them.
Sound Editing in Final Cut Pro X is presented in 11 lessons with a running time of 76 minutes. The tutorial also includes media files for following along in your own copy of Final Cut Pro X. To view the Table of Contents click here
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Who is this Tutorial for?
Sound Editing in Final Cut Pro X was designed for users who are already fluent in Final Cut Pro X. As an intermediate level tutorial, it assumes you are comfortable with Final Cut Pro X's user interface and the basics of working with Events and Projects. This tutorial is for users of Final Cut Pro X who want to improve the quality of their soundtracks. Users who are new to Final Cut Pro X should purchase Apple Pro Video Series: Final Cut Pro X before working through this tutorial.
Table of Contents
Introduction
- What You'll Learn In This Tutorial
- How to Work with the Media
Audio Fundamentals
- Mounting the P2 Disk Image
- Analyze & Fix Audio Problems
- Seperate Mono & Group Stereo Audio
- Remove Silent Channels
- Analyzing After Import
- Setting Auto-Analysis In Preferences
- Inspecting the Channel Configuration
- Enhancing Your Soundtrack
- Working with Audio In the Timeline
- Working with the Waveform
- Enabling, Disabling & Soloing Audio
- Choosing an Audio Channel
- Paning the Audio Channel
Editing in the Timeline
- Adjusting the Edit Points
- Expanding the Audio
- Trimming the Audio
- Animating Clip Volume
- Working with Fade Curves
- Understanding Fade Curve Types
- Animating the Volume to Remove Noise
- Navigating Between Keyframes
- Removing Keyframes
- Adjusting the Volume Level at a Keyframe
- Determining Mic Channels
- Seperating the Audio Channels In the Timeline
- Benefits of Breaking Apart the Audio Channels
- Seperating Audio from Video
Enhancing the Soundtrack
- Reducing Background Noise
- Keeping the Tonal Characteristics of the Dialogue
- Removing Background Noise from other Sounds
- Navigating Between Audio Panes
- Adjusting Loudness
- How Loudness Affects the Audio Clip
- Adjusting the Loudness Parameters
- The Downside of the Loudness Enhancement
- Animating the Volume Level to Control Dynamics
- Removing Hum
- Enhancing with Equalization
- The Downside of using EQ Presets
- Working with the Graphic Equalizer
- Using Match Audio
- Evening Out the Mix
- Using the Audio Meters
- Making Relative Volume Changes
Working with EQ
- Anatomy of a Graphic Equalizer
- Isolating Unwanted Room Resonance
- Understanding the Limitations of using a Graphic EQ
- Applying a Parametric EQ
- Anatomy of a Parametric EQ
- Isolating the Frequencies During Playback
- Adjusting the Q Value of the Curve
- Comparing Before and After EQ in the Inspector
- Making a Low Shelf Adjustment
- Equalization Best Practices
Working with a Compressor
- Understanding Audio Dynamics
- How Compressors Work
- Applying a Compressor to Dialogue
- Anatomy of a Compressor
- Setting the Compressor to "Rest" Position
- Adjusting the Ratio
- Adjusting the Threshold
- Compressor Best Practices
- Adjusting the Release
- Adjusting Attack
- Increasing Overall Gain
- Understanding Auto Gain
- Setting Output Levels
Creating a Surround Mix
- Hardware Considerations
- Configuring Audio Monitoring in the Audio MIDI Setup Window
- Setting up Surround Mixing in Final Cut Pro X
- Anatomy of the Surround Panner
- Animating the Surround Space
- Setting a Surround Pan Mode
Editing Voice Over
- Cleaning up the Voice Over
- Using a Noise Gate
- Explanation of a Noise Gate
- The Threshold Control
- The Release Control
- The Attack Control
- The Hold Control
- Histeresis Control
- Adding a Touch of Reverb
- Using the Waveform for Editing Voice Over
Using Other Effects
- Exploring Other Useful Audio Effects
- Distortion Effects
- Limitations of Echo Effects
- Levels Effects
- Modulation Effects
- Spaces Effects
- Using Space Designer
- Specialized Effects
- Voice Effects
Adding Foley Effects and Music
- Working with Sound Effects
- Searching for and Auditioning Sound Effects
- Spotting the Sound Effect to Picture
- Combining Effects to Create Suspense
- Adding an LFE Effect
- Adding a Dash of Reverb to a Compound Clip
- Getting Around the Truncated Reverb Effect
- Adjusting Sound within a Compound Clip
- Adding a Music Bed
Exporting and Collaboration
- 2 Methods of Sound Collaboration
- Working with Roles
- The Purpose of Roles
- Viewing Roles in the Inspector
- Editing Roles
- Adding Sub-Roles
- Assigning Roles in the Inspector
- Common Application of Roles
- Exporting Audio Stems
- Choosing the Roles to Export
- Exporting for ProTools
Minimum System Requirements for Viewing Tutorials (Mac)
- Mac OS X version 10.5 or Higher
- 2 GHz Intel Core Duo Processor or Better
- 1 GB or more of RAM
- 16 MB of VRAM
- iTunes 9 or later
- QuickTime 7.6.6 or later
- DVD ROM drive for Burning Backups
- 1280 x 800 screen size or better
Minimum System Requirements for Viewing Tutorials (Win)
- 32 Bit Editions of Windows XP Service Pack 2 or Vista
- 32 Bit Editions of Windows Vista or Windows 7
- 2 GHz Intel Core Duo Processor or Better
- 1 GB or more of RAM (2 GB Recommended)
- DirectX 9.0 Compatible Video Card with 32MB of VRAM
- QuickTime Compatible Audio Card
- iTunes 9 or later
- QuickTime 7.6.6 or later
- Supported DVD-R Drive for Burning Backups
- 1280 x 800 screen size or better