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Audio Finishing using Roles in FCP
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- Опубликовано: 7 авг 2024
- In this video, Ripple Training editor Travis Richmond walks you through his audio finishing process using Roles in Final Cut Pro. Check out our Tutorial Sale HERE: www.rippletraining.com/produc...
Use Coupon Code: July-30
Chapter Links:
00:00 - Introduction
00:12 - What is Finishing?
00:41 - Viewing the Short
01:52 - What are Roles?
02:17 - Assigning Roles
02:51 - Revealing Role Lanes
03:42 - Creating Sub Roles
04:27 - Why use Sub Roles?
05:04 - Change Lane Priority
06:05 - Focus an Audio Lane
06:41 - Creating a Final Mixdown
07:56 - Audio Effect Processing Order
10:07 - Setting Target Audio Level on the Meters
11:04 - One bone to pick with Apple
Twitter: @RippleTraining
Facebook: / rippletraining
#FCP
#Roles
#Audio
Creating a 'final mixdown' by making a Compound Clip of an entire project is a missing step in every FCPX course I've taken. It seems so obvious now, as a solution to the lack of mixing panel, but this video was much needed!
Hahaha wtf was I doing
Best Audio Roles tutorial on RUclips. Thank you!
As a sound engineer who works as a video editor I can't correct anything you said. For the people "complaining" about more in depth discussion about LUFS, etc. I take this video as a workflow guide more than a discussion about industry audio levels. It's waaaaayyyy more complex, as every broadcast or OTP has it's own standards. That's where gettin a competent audio post guy could be helpful.
Finally: thanks! When I moved to FCPX (from PP) my first main headache was how to deal with audio mixing and "finishing". This video opens a new way of working, an easier way. I can't thank you enough.
same here
I’ve been editing fulltime for a living in FCPX since maybe 2016. My mind just got blown here LOL wow
For clarity: I’m not a fulltime editor, but I shoot, color and edit, etc for clients
Thank you for explaining your approach on the order of EQ and compressor. Explanation of such details makes the difference in your channel!
Thanks for this video. Very balanced and accurate. Season Studio Audio Engineers apply these methods to projects that require them. Video Editors in post use them as well - and thankfully FCPX has these tools built in. I encourage new and experienced FCPX users to adopt these methods (even to test them out) to learn new ways that improve their projects. Keep up the great work - and thanks for being an education platform - your 12 min video can save users months of formal education, applying these techniques immediately!
Thank you sir
I've been looking for a way to apply a limiter to my "stereo bus" for years! THANK YOU!!!
Great video. I agree, Apple definitely needs a toggle switch to be able to hear your final mix down while you are making video edits in the expanded timeline!
I think you are an excellent teacher. Thanks for the content.
FABULOUS! @9:53... BRILLIANT! Loved this vid and the information contained within. THANK YOU for this!
This is a must see for every final cut pro user! Thanks
this was super mega helpful! ive been using this programme for so long and ive never done this before haha youve blown my mind
Crucially important information... thanks much for creating this video!
Informative video. Thanks! Also, good sound quality :)
So useful. Step by step help how to get that audio under control. Big thank you (Klaudia)
Really helped and would sure try this as i have shifted from PP to FCPX ... I was so struggling to edit my audio like i used to do on PP
Great learning for audio workflow! Respect
A whole new world (for me). Succinct advice. Thank you!
I didn't have time to correct you while drinking from your Lucasfilm cup because I was putting on my ILM shirt to get ready for commenting. Not enough time! Oh well... I'll correct ya on something next time! Anyway most videos on RUclips seem to have 0db as their guideline. I sometimes get comments on my videos that they are too quiet, since mine are around -12-ish. I just tell 'em to turn it up.
I edit to -6 for YT, right in between!
Thank you. Insanely helpful!
Thanks guys, this was very helpful.
This was so helpful! Thanks
Great video. Many thanks
Still wish there was a rolls based mixer. It could also solve the problem of not hearing your mix down when inside the compound clip. I feel like Apple could still do a lot more with audio in Final Cut. Would be great to have a dedicated loudness meter with history, would be nice to have proper AU and VST plug-in support as well. Glad Xtopro is still as stable and useful as it is 💪🏻
Thanks for the great content! Definitely the best tutorials on the web for FCP, Motion and Compressor 👍🏻
Wow - Fantastic tutorial!
Very informative. Thank you so much.
Very well done.
Fantastically explained… #audioengineer certified 😀
Good stuff, thanks for sharing.
Very helpful. Thank you!
needed this , great video
Very useful and informative! At ~1:20 in your video with the Nelson, Nevada reference the guy in the Disneyland hoodie speaks of travelers "...making a right turn off of interstate 95....." Interstate 95 is actually in the eastern US!
The entire piece is a mockumentary - it's all bs
Nicely done!@@rippleguys
It’s always reaffirming to watch a video and find that I’ve been doing it right all along :-) hehe thanks for the excellent tutorial! I actually did NOT know you can rearrange the lanes though. Great tip! Also just for the record, I normalize to -1.5db for RUclips. Sure would be nice if they actually published a standard, wouldn’t it?
Thank you!
Do subtractive eq, then compressor, then additive eq, then limit.
This is very important
Thank you.
Your suggested toggle would be great. Though it'd still be preferable imho if Apple just gave those "roles" or "lanes" DAW-style inserts so you wouldn't have to bother with compound clips.
King of the hills
09:45 - Oooooh! It's about to go down y'all! 😂
Why do we want to keep it under 6db for web? Shouldn't we be as loud as possible so people stop scrolling?
Love the idea of a mixdown compound clip. To address your last point about a toggle though, couldn't you create 3 separate compound clips (one each for music, effects & dialogue) within the timeline, which would allow you to make changes to both your timeline edit as well as the overall audio mixes, and still hear all the changes?
Great Video ! Do any of the FCP plugins implement stds? Here in AU we use OP59 STD -24LKFS -2dB (for which there is a preset in PP) but cannot find similar in FCP affect?. Also - Would love to see your video with solutions audio repair in films for RX8(via logicPro) and FCP.
What are the recommended db levels for RUclips?
Did they fix the bug / or feature you mentioned in the last part of this video? I seem to be able to hear all tracks when in compound clip and in regular clip.
If I understand it right, I need to manually normalize the different clips of a certain role? Isn’t there an automated tool, where I specify e.g. -12 dB and it adjusts every clip so that they all hit that value ?
absolutely loving, and hating, comupound clips. When I make a compound clip of my entire project (ready for audio mastering) some audio and video loses sync. Why on earth is this happening?! thks
I missed a discussion on LUFS. My lay understanding is RUclips and other platforms have requirements that we can meet during editing. Can FCPX set LUFS?
Yes. But it's hidden. We'll be doing an episode on LUFs soon.
Nailed it. Beat me to creating my own video detailing this :)
Side note: interstate 95 runs North and South on the East coast.
Thanks. This is a fantastic tutorial as I’d love something like resolve for audio editing. I have one big questions do. I’m using rode wireless go ii for weddings so I have two channels of audio. I switch them to dual mono but what I’d like to do is assign each channel to a role. Is this possible
Nope, that is what subroles are for. You still have complete control over each channel as a subrole. By the way I rented that setup and I loved it.
@@rippleguys oh. So you said “nope” and then talked about sub roles as if to employ that it’s possible so I’m just a little confused sorry. Or maybe you ment nope to say that their is no resolve style audio editing workflow and that’s fine. I’d love to stay in final cut anyway. Your “mix down” workflow and roles editing workflow is just outstanding. I would just love to be able to assign a role or as you said sub role to each channel of the dual mono track coming from the rode wirleless go ii. If I could assign a role to each channel separately this would seriously change the game. * I am already turning on and off channels (like groom audio) but roles would be so much more easier to use
@@rippleguys I just looked up subroles now. I used two sets of rode wireless go ii systems at a wedding with 4 channels of audio. mind blown!! you have just made my life so so easy. oh gosh.. so thankful
09:52 BEST FLEX… EVER! 🎼🔊🦾
As always, gratitude for vectoring the discussion in creatively constructive lanes. It has been easier learning FCP with y’all.
Great Info! ❓ Does the audio have a hierarchy in the timeline?
Say for instance, the dialogue audio would be placed above the music.
Similar to how a video track above another track would take priority.
Normally Dialogue appears at the top in traditional NLEs - but this is Final Cut and you can change the priority to whatever you want -
I need help. I have saved one audio file without muting original voice. After saving this file we lost all data while software updating. Now I have only voice file. In that two voices coming. How can I separate my voice from that file. Can anyone help me
So if I have multiple dialogs that are of vastly different levels, too high and very low, is it not better to work on these separately first rather than creating a compound clip and then throwing a single Limiter on them?
Of course
Great and lets not forget presets too :) @@rippleguys
I'm trying to create an output on FCP for a RUclips video. But something strange is happening... My average audio levels are higher than suggested here (but not yellow and red), yet when I output the project, the audio overall seems somewhat quieter than other videos already on RUclips. Meaning, when I play my .mp4 I have to up the volume slightly, and then turn the volume down when I click on everybody else's videos... which suggests to me that my levels are too low in the output despite the fact that on the timeline my levels are somewhat high. 1) Why does the playback of my project on the FCP timeline sound louder and better than the .mp4 file I create when outputting the project? Also, I can't figure out how to make sure that I have normal levels compared to other videos on RUclips.
So, rather than key framing music level changes for dips/swells, why not just blade the clip > add a transition > then quickly adjust your clip volume with "Command - or +"? It's so much easier to move/roll a transition along the track and change the dip's duration than fiddling about with keyframes, particularly after changes to the dialogue when all the dip timing goes out the window. Would love to hear your thoughts. I started doing this instinctively from the first moment I opened FCPX. Much faster imo. Great video thanks.
You workflow is legit for track based NLEs like AVID and Premiere, but FCP has a magnetic timeline, and in the part of the video where he shows the use of keyframes, if you start splitting the clip up, you'll be creating connected audio clips every time you do a split, so when working with roles and subroles, it is best to keep one connection point for the entire role. Also there are other tools that he did not show that making creating and ducking audio only a 2-gesture process. My suggestion (and you can take this for what it's worth) is to not superimpose a track-based way of thinking onto FCP. FCP is unique in many ways, and the magnetic timeline is what makes it super fast.
@@rippleguys Command G my friend - Just make that music track a storyline before you blade and you have one connection point. I left track based editing with fcp7 and have been a long time FCPX user. Seriously, you should try this. Thanks for your reply.
HELP! I have done the compound clip and created my mixdown timeline BUT i want to get out and revert back to my original edit timeline to add transitions etc...what do i do?
Double click the compound clip to open it
@@rippleguys thanks for the quick response! Just gonna try that!
@@rippleguys Wahey! Thanks..that simple!!
👌🏻💐
Should you have effect curves (keyframe graphs) on your audio lanes (e.g. to duck music/fx behind dialogue) and then realize you need another edit within the compound clip, e.g. you shorten a clip. Are the timeline changes then "rippling up" to the wrapping compound clip? Or would your audio lanes curves remain as-is and hence unaffected by the inner changes in the compound clip, and hence be out of sync?
Whatever change you make within the compound will be manifested in the parent timeline.
@@rippleguys Please don't get me wrong, I appreciate to get an answer, but: Not an answer to my question.
Maybe this example helps: Timeline within the compound clip has dialogue "One two three four five". Timeline which contains that compound clip fades the audio volume down on the word "three" and then up to normal level again. If I now go inside the compound clip and delete the word "One". What happens? Is the keyframe-curve on the outer timeline also shortened by the same amount and the fade-down still occurs over the word "three". Or does it remain as-is and hence occurs circa on the word "four" because the whole inner content shifted leftwards due to deleting "One" ?
@@putzfetzenORG No, the keyframes on the parent timeline will need to be adjusted for the deleted clip. This is why it's a good idea to do a final mixdown after your edit is locked.
@@rippleguys Thanks for the clarification. From your practical experience did the situation ever arise that due to how the mixdown in the parent timeline turned out (influence on mood and rhytm) that as a consequence you needed to edit in the child composition timeline? And overall how often after mixdown did the situation arise for further editing, and for which reasons?
Also if u don't know how to use compressors or realize what they are doing use a Limiter or gate instead.
Bwahaha I love it..........hopefully you didnt get pummeled by all of "those" type of audio engineers.........
Wait, I95 goes to Nevada?
The govt. changed route i95 to SR165 to keep the Aliens guessing.
U.S. 95 is what he's referring to. I think I-95 is on the east coast.
@@rippleguys :-)
@@fredbell2654 Yes, I95 runs up and down the east coast.
Great info! Thank you!
PS Mark is into aliens? Please Mark, make a RUclips channel with you material (given the fact you have time to spare)
Thanx for the video. The way FCP handles audio is the MAIN reason I do not use it. Your "bone to pick" with Apple about (1) creating a compound clip to apply effects and then (2) NOT being able to hear those effects if you double-click INTO the compound clip is, in my opinion, the worst thing about FCP. Do I "need" a mixer.........I could do without it if FCP would just allow a master-effects buss for a particular lane. Until then..........It's Premiere for me! Cheers.
09:54 hahahahaha ...
This is still a shitty solution. A real one would be APPLE FIX YOUR SHIT.