Making Giants Part 10: Sound Design

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Making Giants Part 10: Sound Design

It's a shame that we can spend 9 episodes talking about the visuals for "Giants" and only one on the sound, but unfortunately that's pretty much par for the course as far as sound is concerned.  It's often left until the end of the process when, in fact, sound is responsible for half OR MORE of the emotional impact of your work.

In this episode we combine VO, Music, and Sound Effects to create an audio-arc for our film.

There is a TON crammed into this episode, and hopefully you'll come away with some insight into how you might approach sound in your own work.  

At the end of this episode... you can see the final film.  We'll be releasing the film on it's own and setting up a proper page for it on the site soon, but I hope it's been an inspiring and informative process for you to follow along with me on this adventure.

Check out the episode notes for links to all of the resources I mention in this episode.  And make sure to download the project files so you can see first-hand the power of a little sound design and some basic mixing.

Thanks for riding along!

Every episode of Making Giants comes with the most up-to-date projects and assets so you can follow along or break apart anything that isn't covered in the videos.

The sound effects for this episode have been pre-mixed for you to download.  we can't give away sound effects that are being sold commercially, but you can at least hear them in context and play with mix settings.

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP.

Download Project File

Premium Beat - My buddies and favorite music and sound effects site

Video Copilot - You know who these guys are. Come on. Makers of the incredible Motion Pulse library.

Sound Dogs - Insanely cheap and massive SFX library

Voice Bunny & Voice Jungle - Inexpensive voiceovers

Fiverr.com - An odd marketplace for voiceovers... and anything else you can think of

DamnGoodVoices.com - One of the best VO talent pools I've ever found. 

    00:00:00,461(gentle repetitive bouncing)
    00:00:03,088(energetic electronic music)
    00:00:12,109- [Joey] (sighing) This is so cliche, so typical.
    00:00:15,640We spent nine episodes dealing with picture
    00:00:18,168and one dealing with sound,
    00:00:19,989and that is not really fair because sound is so important.
    00:00:23,579Probably more than half of the emotional impact from a piece
    00:00:27,088comes from the audio.
    00:00:28,629Yet, it's often, as in this case, left until the end,
    00:00:32,349and it's kind of sad really.
    00:00:34,219But, what are we going to do?
    00:00:35,773Let's try to make it as good as we can in one episode.
    00:00:40,048Let me take a step backwards here.
    00:00:41,886I didn't mention this before but I've been searching
    00:00:44,008for a good voiceover artist for the past few weeks,
    00:00:46,848somebody with a more mature, more serious voice than mine.
    00:00:51,337And for some reason, I'm also hearing a British accent
    00:00:53,949in my head, so yeah, British too.
    00:00:57,157I decided to experiment a bit to see how easily
    00:01:00,418and cheaply I could get this done,
    00:01:02,909and I had heard that you can get voiceover artists
    00:01:05,979on fiverr.com.
    00:01:08,188It's a site where you can get a whole bunch of stuff done
    00:01:10,868for five bucks.
    00:01:12,490I wasn't expecting much,
    00:01:14,068but I found a guy that actually sounded decent.
    00:01:16,850- I have over eight years experience of voiceover,
    00:01:19,700and I'm born and bred British,
    00:01:21,140so I have an authentic British accent.
    00:01:23,649Giants are not what we think they are.
    00:01:28,108The same qualities that appear to give them strength
    00:01:33,306are often the sources of great weakness.
    00:01:38,100- [Joey] In the name of science,
    00:01:39,591I also tried a couple of more budget-oriented sites
    00:01:42,530like VoiceBunny, and VoiceJungle,
    00:01:45,268and after poring over demo reels,
    00:01:47,508which is something you have to do on these sites
    00:01:49,507to find the diamond in the rough,
    00:01:51,388I booked a couple of VO artists
    00:01:53,348and had them send me some reads.
    00:01:55,858- [Male Reader With Mid-range Voice] Giants
    00:01:58,058are not what we think they are.
    00:02:01,098- [Male Reader With Low Voice] Giants
    00:02:03,186are not what we think they are.
    00:02:06,506- [Joey] So a lesson I learned is that with voiceover,
    00:02:09,621like many things in life, you get what you pay for,
    00:02:12,451although the fiverr guy was actually pretty good.
    00:02:15,933So finally, I decided to check out a legit VO agency
    00:02:19,653and since I was hearing a really deep
    00:02:21,841actorly voice in my head,
    00:02:23,650I went to these guys, damngoodvoices.com.
    00:02:27,070It's a great name.
    00:02:28,303And almost every demo reel I heard gave me goosebumps.
    00:02:32,787- [Donal] From a time when modern technology
    00:02:35,431was taking its first steps.
    00:02:37,292- [Simon] Berliners, gaunt from short rations and stress.
    00:02:43,122- [Timothy] For some, it's a lifelong passion.
    00:02:47,728For others, it's something discovered yesterday.
    00:02:51,362- [Joey] I wish my voice sounded like that.
    00:02:53,440So after an email exchange with these guys,
    00:02:55,493I had demos from a bunch of incredible VO artists.
    00:03:00,002- [Andy] Giants are not what we think they are.
    00:03:03,382- [Dale] Giants are not what we think they are.
    00:03:07,711- [Robert] Giants are not what we think they are.
    00:03:12,029- [Joey] It was really hard to pick one,
    00:03:14,029but this guy, Bill Champion,
    00:03:16,678what a name by the way,
    00:03:17,998his voice seemed to have the right balance
    00:03:20,269of deepness but approachability and it just sounds good.
    00:03:24,700So, here's what his audition sounds like
    00:03:27,328in the context of the cut.
    00:03:36,061- [Bill] Giants are not what we think they are.
    00:03:41,890The same qualities that appear to give them strength
    00:03:47,351are often the sources of great weakness.
    00:03:54,827The powerful are not as powerful as they seem,
    00:04:03,018nor the weak as weak.
    00:04:16,591- [Joey] If you take away nothing else from this episode,
    00:04:19,130I hope that you can start to appreciate the difference
    00:04:21,221that a good voiceover talent makes.
    00:04:23,546I mean, come on!
    00:04:25,262I booked Bill and we did a live recording session
    00:04:28,810over Skype, so this way I could hear his takes
    00:04:31,959and I could give him direction,
    00:04:33,669and an engineer recorded everything on there
    00:04:34,502and professionally, so it would sound great
    00:04:38,239when I got the files.
    00:04:39,208Here's a little piece of that session.
    00:04:43,746For these first few takes, why not just read it naturally
    00:04:46,466with the way it sounds good to your ear?
    00:04:48,546- [Bill] Okay.
    00:04:49,379- [Joey] And then we can try and get some that are--
    00:04:51,277- [Bill] We can play with it from there.
    00:04:52,216- [Joey] Yeah, perfect.
    00:04:53,535- [Bill] Giants are not what we think they are.
    00:04:57,026The same qualities that appear to give them strength
    00:05:00,643are often the sources of great weakness.
    00:05:04,553The powerful are not as powerful as they seem,
    00:05:08,976nor the weak as weak.
    00:05:11,834- [Joey] Great. It sounds--
    00:05:13,626You have a great voice, man. It sounds awesome.
    00:05:15,746I'd say why don't we bring it even lower
    00:05:18,226into that really soft-spoken gravellyness.
    00:05:21,916In the audition, it was really...
    00:05:25,613It was a little bit slower and it was even deeper, I think.
    00:05:28,989So why don't we try that?
    00:05:30,341- [Bill] Giants are not what we think they are.
    00:05:33,947The same qualities that appear to give them strength
    00:05:37,709are often the sources of great weakness.
    00:05:41,199The powerful are not as powerful as they seem,
    00:05:45,901nor the weak as weak.
    00:05:49,140- [Joey] I'm wondering if we can try something that--
    00:05:51,569It's a little bit--
    00:05:52,892It's more up, right?
    00:05:55,012And there's a little bit more movement to your voice
    00:05:57,700so you can really play with going up and down
    00:06:01,052and not being as, you know, not playing it as straight,
    00:06:05,600especially at the end.
    00:06:07,342Having almost like you're winking at the audience,
    00:06:10,519like nor the weak is weak.
    00:06:12,630You know, you can really kind of play with it a little bit
    00:06:15,262and just kinda see how that works.
    00:06:17,211I think it could be interesting.
    00:06:19,361- [Bill] Giants are not what we think they are.
    00:06:22,302The same qualities that appear to give them strength
    00:06:25,309are often the sources of great weakness.
    00:06:29,281The powerful are not as powerful as they seem,
    00:06:32,841nor the weak as weak.
    00:06:37,070- [Joey] If you want to hear the entire half hour session,
    00:06:39,201download this episode's files and it's in there.
    00:06:41,670You can listen to the whole thing.
    00:06:43,230Now as you heard, I had Bill record the lines
    00:06:45,513a few different ways because I wanted some options.
    00:06:48,593After seeing the final picture,
    00:06:50,673I've been thinking about changing up the music maybe
    00:06:53,804and going with something a little less dark in tone.
    00:06:57,281So here's the original music,
    00:06:59,073with the deeper, raspier VO read from Bill.
    00:07:05,206(dark ambient electronic music)
    00:07:09,365- [Bill] Giants are not what we think they are.
    00:07:15,484The same qualities that appear to give them strength
    00:07:19,816are often the sources of great weakness.
    00:07:28,296The powerful are not as powerful as they seem,
    00:07:36,182nor the weak as weak.
    00:07:39,558(dark ambient electronic music)
    00:07:50,691- [Joey] And here is a lighter,
    00:07:52,422more storytellerish read from Bill
    00:07:54,831with a different and lighter music track.
    00:08:02,610(optimistic orchestral music)
    00:08:04,652- [Bill] Giants are not what we think they are.
    00:08:08,801The same qualities that appear to give them strength
    00:08:16,191are often the sources of great weakness.
    00:08:23,062The powerful are not as powerful as they seem,
    00:08:28,589nor the weak as weak.
    00:08:30,991(orchestral music finale)
    00:08:41,069- [Joey] Talk about a completely different feel
    00:08:43,929based solely on audio.
    00:08:46,060Now I like this version a lot more.
    00:08:48,089I think that it fits the color palette,
    00:08:49,980it fits the visuals a lot better, and it's more fun.
    00:08:53,488So now we need to add some sound effects.
    00:08:56,530Let's talk about how we do that.
    00:09:00,332So here's the sequence with the music and the voiceover,
    00:09:03,302and I've locked those tracks so we don't screw anything up.
    00:09:05,532And now we're ready to start adding sound effects.
    00:09:08,092The first thing we need to do
    00:09:09,590is get some sound effects, right?
    00:09:11,201If you don't have any sound effects,
    00:09:12,502what are you going to use?
    00:09:13,759So I wanted to give you some resources that I use a lot
    00:09:16,801when I'm looking for sound effects.
    00:09:18,561So the first one I want to talk about is sounddogs.com.
    00:09:21,830A lot of sound effects that you're going to need,
    00:09:24,521you know, depending on the project.
    00:09:26,542And you know, this giants project
    00:09:28,390might actually be an exception.
    00:09:30,541But a lot of projects are going to require
    00:09:32,361very specific sounds, rustling papers, footsteps,
    00:09:38,079crunching on the snow, and stuff like that.
    00:09:40,342And when you need really specific sound effects,
    00:09:42,830this website is amazing
    00:09:44,310because it's got hundreds of thousands of sound effects
    00:09:47,732and you can type in just about anything.
    00:09:50,492Volcano, for example, and you can see not only do they have
    00:09:53,921volcano sound effects,
    00:09:55,790they have underwater volcano sound effects.
    00:09:58,420And you can type in Wiffle Ball
    00:10:00,412if you're working on a commercial
    00:10:02,490that has Wiffle Ball in it,
    00:10:03,948and look, there's like multiple sound effects
    00:10:05,740for Wiffle Ball sounds.
    00:10:07,310So, you can use something like this
    00:10:09,390to get really specific real world sounds,
    00:10:11,622and as you can see here,
    00:10:12,742this is all very inexpensive, okay?
    00:10:15,190Another way to do it is to find packs of sound effects.
    00:10:20,150So lately I've been using the Premium Beat library
    00:10:22,433because they're my buddies, and they actually have
    00:10:24,510a pretty good library,
    00:10:26,044and since they've redone their website,
    00:10:28,001it's actually really easy to search for stuff.
    00:10:29,972So, for example, I needed the sound of the desert, right?
    00:10:33,892And so I typed in desert and look, wind drone desert.
    00:10:37,772(wind blowing)
    00:10:39,401And it's this perfect kind of windy sound
    00:10:42,052like you're in the desert.
    00:10:43,198It's exactly what I needed, and it's seven bucks, right?
    00:10:46,313Really inexpensive.
    00:10:47,521And there's also some different variations of that.
    00:10:51,273And then on top of that, you can also get some interesting
    00:10:54,753little packs.
    00:10:55,913So for example, one thing that might be really useful
    00:10:58,833would be to get one of these packs that they sell
    00:11:02,090that has a whole bunch of trailer sound design elements
    00:11:06,041that you might use
    00:11:07,142that aren't necessarily real world sounds, alright?
    00:11:11,022And I'm going to show you some of these in a minute.
    00:11:13,321My favorite library of sound effects of all time (laughs)
    00:11:17,006for sound effects that are not real world things,
    00:11:20,660but are more those sounds that you layer
    00:11:25,172and you kind of create a mood with.
    00:11:28,742For those types of sounds,
    00:11:29,900this product here from Video Copilot,
    00:11:32,119one of my personal heroes, Andrew Kramer,
    00:11:34,291MotionPulse it's called.
    00:11:36,468And it's a huge collection of all kinds
    00:11:39,561of abstract weird sounds.
    00:11:43,681A lot of them are kind of science fiction sounding
    00:11:45,942but there's also some really useful low frequency things.
    00:11:49,921So here, let me hop into my finder here
    00:11:55,561and show you some of these, alright?
    00:11:57,452So I have you know, over the years, just kind of built up
    00:12:01,020a library of stock elements, alright?
    00:12:03,981So I have 3D models, and sounds, and images, and video,
    00:12:08,478and stuff like that.
    00:12:09,561This is a very smart thing to do.
    00:12:11,361And so here's the MotionPulse library.
    00:12:14,028By the way, this is another Video Copilot.
    00:12:16,336It's an older sound effects library that they still sell
    00:12:19,023called Designer Sound Effects.
    00:12:20,705MotionPulse, if you're only going to buy one,
    00:12:22,513that's the one I would buy.
    00:12:24,495So let's take a look at it.
    00:12:25,804So you've got a lot of different categories,
    00:12:28,212and you've got things like bass drop.
    00:12:30,025So let's listen to one of these,
    00:12:31,364this one's called Time Freeze.
    00:12:32,991(canned bass drop)
    00:12:34,785So, it's just this low frequency sound, right?
    00:12:37,415(layered low pitch echoing)
    00:12:40,124Right?
    00:12:40,957There's nothing in real life that sounds like that,
    00:12:43,305but you can use these things,
    00:12:44,924obviously if you watch movie trailers,
    00:12:46,513you've heard stuff like this, right?
    00:12:48,644(booming low pitch impact)
    00:12:51,335(high pitch echoing)
    00:12:54,384Right?
    00:12:55,217I think sound effects that like are really neat,
    00:12:57,363these really low frequency,
    00:12:59,033you know there's a whole thing called subsonic impacts.
    00:13:01,985(low pitch booming)
    00:13:03,497And these are things that a lot of times
    00:13:05,017when you're watching a trailer, or you're watching a show,
    00:13:06,847you don't even hear it.
    00:13:08,447It's a subconscious thing that just adds tension
    00:13:11,446and makes you feel a little uncomfortable.
    00:13:13,705(layered low pitch booming)
    00:13:15,767And so you can layer these things at certain moments
    00:13:18,767to create a mood without your audience even really knowing
    00:13:22,145what's going on.
    00:13:23,545So this library also has a lot of interesting stuff,
    00:13:26,864you know, one sound effect
    00:13:28,063that I knew was going to be problematic
    00:13:29,647was the way the vines sound when they're growing.
    00:13:33,225Because, what the heck does that sound like?
    00:13:36,074And so there's an organic category of sound effects
    00:13:39,225in this library. (laughing)
    00:13:40,926Meat Slices.
    00:13:41,904(metal slicing) (meat squishing)
    00:13:43,535(sighing) Oh, man. That's just gruesome!
    00:13:46,565But there's a section called Lifeforms,
    00:13:49,442and there's these sound effects.
    00:13:51,031Now listen to them all by themselves first,
    00:13:53,350this will be really interesting.
    00:13:54,703(low pitch echoing) (water splashing)
    00:13:57,094(liquids sloshing)
    00:14:01,741See? They sound really disgusting, don't they?
    00:14:06,671It's like oozing, gurgling, sloshing meat
    00:14:10,610crawling across the ground or something.
    00:14:12,981And by themselves, they sound atrocious,
    00:14:15,698but when we layer them with the music, and the voiceover,
    00:14:19,761and we bury them in the mix a little bit,
    00:14:22,290and maybe we layer in some of this--
    00:14:24,740Maybe some of these techier versions might work better.
    00:14:27,901(technological glitching) (liquids sloshing)
    00:14:30,362(distorted glitching)
    00:14:33,181(distorted echoing)
    00:14:35,141Right? Like those are a little bit less gross sounding,
    00:14:37,670and when you put them very low in the mix,
    00:14:39,821you turn the volume way down,
    00:14:41,621you won't hear all that sloshing, and gurgling,
    00:14:44,442and stuff that makes you queasy,
    00:14:46,390but you're going to hear the general characteristic
    00:14:49,530of that sound that does kind of sound,
    00:14:51,821in my brain, at least,
    00:14:52,861the way vines would sound if they were growing.
    00:14:55,671Alright, so I've got all of these different
    00:14:58,127libraries of sound that I can pull from.
    00:15:00,970And so what I've done is I've brought those in,
    00:15:03,991and I have my sequence ready to go.
    00:15:06,250So the first thing is, right at the beginning here,
    00:15:09,680(cymbals flourishing) (optimistic orchestral music)
    00:15:13,368- [Bill] Giants--
    00:15:14,341- [Joey] Alright, so this song,
    00:15:16,775because of the way that it was edited
    00:15:18,765and it's just a totally different song,
    00:15:20,594there's a gap at the beginning
    00:15:23,205and there's a gap at the end when the song ends.
    00:15:26,156I thought it would be cool to kind of
    00:15:29,314have a little bit of an intro and outro
    00:15:31,125where there's really not a lot of sound,
    00:15:33,405but maybe the sound we do hear
    00:15:35,055is that wind sound like you would hear in the desert.
    00:15:38,594So, this is that sound effect that I found
    00:15:40,935on the Premium Beats sound effects library,
    00:15:43,812it's called Wind Drone Desert,
    00:15:44,962and I am just going to drag this right onto my sequence
    00:15:48,162just like this.
    00:15:49,012Alright, let's take a look at this.
    00:15:51,261And I'm going to trim it so it's the right length,
    00:15:54,954and I'm going to fade it out at the end.
    00:15:57,512And then I'm going to come into my audio track mixer
    00:16:01,213and we're going to talk more about mixing a little bit later
    00:16:04,002in this episode, but, you know, for now what I'm going to do
    00:16:07,002is just get very basic levels, alright?
    00:16:10,802And so this is on audio track three,
    00:16:14,263and if I hit play,
    00:16:15,962(wind blowing)
    00:16:19,102(cymbals flourish)
    00:16:20,561- [Bill] Giants are not what--
    00:16:22,401- [Joey] That wind sound is totally overwhelming
    00:16:25,161absolutely everything else,
    00:16:26,662so I'm going to bring that track way down.
    00:16:28,840And the difference between the track mixer
    00:16:31,030and the clip mixer
    00:16:32,342is that the track mixer affects the volume
    00:16:35,302of every single thing that ends up on this track, okay?
    00:16:38,212If I put new sound effects on track three,
    00:16:40,481it affects the volume of all of them at the same time,
    00:16:43,750versus the clip mixer which only affects the clip
    00:16:47,532that your playhead is currently over.
    00:16:50,540And you can actually set individual clips, too,
    00:16:53,300which is really useful.
    00:16:54,660So we're going to start with just the track mixer
    00:16:56,601and we're going to bring this volume way way down.
    00:16:59,348- [Bill] What we think they are.
    00:17:02,681The same qualities that appear to give them strength--
    00:17:06,510- [Joey] Alright, so now at the beginning,
    00:17:09,590(wind blowing) (cymbals flourish)
    00:17:12,038(optimistic piano music)
    00:17:13,607- [Bill] Giants--
    00:17:14,590- [Joey] Alright, that sounds pretty good, right?
    00:17:16,398And we're going to do more mixing later on.
    00:17:18,489Right now, I just want to sort of build the bed of sounds,
    00:17:20,609okay?
    00:17:21,442I like how you get this nice wind
    00:17:23,365coming in at the beginning.
    00:17:24,881I don't need a cross fade at the beginning
    00:17:26,550because the sound effect has a built in cross fade.
    00:17:29,167(wind blowing)
    00:17:31,788(cymbals flourish) (optimistic piano music)
    00:17:33,940Alright, and then at the end,
    00:17:35,480(orchestral music finale) (wind blowing)
    00:17:40,638I like how you keep hearing the wind after the music
    00:17:43,129kind of dies out, that's kind of neat to me, okay.
    00:17:45,300I'm going to turn this down probably a little bit more.
    00:17:47,518I'm actually going to just come down here
    00:17:49,626and just type in, if I can make my mouse do it,
    00:17:52,827which I might not be able to,
    00:17:54,798'cause I have to shrink--
    00:17:56,020I shrink my screen when I do these screencasts.
    00:17:57,838So, let's try minus 21, so it's really pretty quiet.
    00:18:02,529(wind blowing)
    00:18:04,449Alright, we're just getting a little bit of level there.
    00:18:07,009- [Bill] Giants are not what we--
    00:18:08,838- [Joey] Perfect. Okay.
    00:18:10,137So, now let's talk about something more interesting
    00:18:11,965than the wind.
    00:18:13,017Let's talk about something like the vines, alright?
    00:18:16,696So what I'm going to do, I'm going to hit shift minus.
    00:18:19,356I'm going to make my tracks smaller.
    00:18:21,586And I'm going to lock this track now,
    00:18:23,337since the wind is kind of in the right place.
    00:18:25,406And let's go in and lets start sound designing
    00:18:27,686this moment here, okay?
    00:18:29,356And let's talk about it.
    00:18:30,468So you've got this burst of kind of particles
    00:18:33,676where the inside of the plant goes dark
    00:18:36,821because the shadow has been cast over it.
    00:18:39,726So we're going to need something there,
    00:18:41,886but I want to focus on this first, okay?
    00:18:44,916So I want first of all, a bit of a build up
    00:18:49,816into this moment before the vines come out.
    00:18:54,108This is a really common trick with sound design,
    00:18:57,305is you have a sound that plays before
    00:18:59,705the action you're looking at visually actually happens.
    00:19:02,886It's kind of a precursor,
    00:19:04,446and it makes everything feel choreographed, okay?
    00:19:07,804So if we come into my sound effects folder here,
    00:19:11,686and we go into MotionPulse.
    00:19:13,457I've brought in every single sound effect
    00:19:16,116and you've got these things like velocity, okay?
    00:19:19,326And there's a whole folder here of reverse effects.
    00:19:22,700Now, the reason I know this
    00:19:24,316is because I've used this library a lot.
    00:19:26,156In any library you buy,
    00:19:27,685you're going to need to get familiar with it.
    00:19:29,497It takes some time, there's no getting around that,
    00:19:31,846but it's really worth it in the end.
    00:19:33,676So let's listen to some of these reverse effects.
    00:19:36,914(canned echoing)
    00:19:39,106Alright, that's a little creepy.
    00:19:40,756(low frequency rumbling)
    00:19:43,377That's kind of interesting.
    00:19:44,977Alright, that one might actually be kind of interesting,
    00:19:48,274so let me mark this one.
    00:19:50,828I'm just going to label it with a different color
    00:19:53,016so I can remember that I like that one.
    00:19:54,911(layered echoing)
    00:19:57,116That's kind of interesting too, a little creepy.
    00:19:59,246(burst of echo)
    00:20:00,876That one's too short.
    00:20:02,188There's also some ones labeled high down here.
    00:20:04,657(high frequency ringing)
    00:20:07,695That's kind of interesting, too.
    00:20:11,006It's a little short, let's see if there's a longer one.
    00:20:13,457(layered echoing and chiming)
    00:20:15,257(chiming increasing in pitch)
    00:20:17,908I like that.
    00:20:18,741That's pretty interesting, okay.
    00:20:20,417So what I'm going to do is I'm going to set my outpoint
    00:20:22,836for right at the end here,
    00:20:24,268and I'm going to figure out
    00:20:25,276right where we start to see the vines,
    00:20:28,777right about there.
    00:20:30,228And I'm going to place this sound effect
    00:20:31,806so that it ends right at that moment, okay?
    00:20:34,956And I can pull this handle out
    00:20:37,126so we do get that little ending.
    00:20:39,556(chiming increasing in pitch)
    00:20:42,177Okay, now I need to slip the timing just a little bit.
    00:20:46,516(chiming increasing in pitch)
    00:20:49,206Now that is way, way, way, way too loud, okay?
    00:20:53,365Just all kinds of too loud.
    00:20:56,125So what I'm going to do is start adjusting
    00:20:58,787the individual clip volumes,
    00:21:00,427and the way that I like to do this in Premiere
    00:21:02,276is really simple, you just select the clip, you hit G,
    00:21:05,297and then you can just type in an amount, okay?
    00:21:07,886So right now the gain is zero decibels,
    00:21:09,988it's sort of like the default baseline gain.
    00:21:12,708I'm going to say minus 18.
    00:21:16,796(chiming increasing in pitch)
    00:21:19,926Okay?
    00:21:20,759So it's a lot more subtle,
    00:21:21,592it may need to be even more subtle
    00:21:22,646but I'm going to worry about that in the mixing phase.
    00:21:25,316So, then the next thing I want to do,
    00:21:26,846let me see what happens if I layer this on there, too.
    00:21:29,337(layered echoing)
    00:21:31,457Alright, so that sound ends about there,
    00:21:34,737so I'm going to do the same thing.
    00:21:35,916I'm going to put this--
    00:21:37,337need to go to the frame where those things
    00:21:39,356kind of start to come out of the ground,
    00:21:41,577put that here,
    00:21:44,100pull this out,
    00:21:45,508and set the gain to minus 18.
    00:21:50,714Now with these layered together,
    00:21:52,775(chiming increasing in pitch) (layered echoing)
    00:21:55,546there's a little bit more going on,
    00:21:57,646a little bit more of a character to it, okay?
    00:21:59,342Now when these things burst through the ground,
    00:22:01,194you've got all this high frequency sound happening right now
    00:22:04,063and I want to pay that off with a low frequency sound
    00:22:07,695when the vines kind of break through the ground.
    00:22:11,125So for that, I'm going to go into the impact group,
    00:22:14,455and let's see what we have here.
    00:22:15,554So we've got bass drops, crashes, debris.
    00:22:18,255We want some kind of a hit,
    00:22:20,175but I don't want to really hear too much noise
    00:22:23,343and junk in it.
    00:22:25,202I want more of like a clean sound,
    00:22:27,223so I'm going to check out this sonic pulse
    00:22:30,154and see what we have.
    00:22:31,162Here's sonic pulse hit.
    00:22:32,514(loud sonic boom)
    00:22:34,514It's kind of like inception, or something.
    00:22:36,474(high frequency clanging)
    00:22:37,925(layered echoing boom)
    00:22:39,605(canned echoing)
    00:22:40,823Alright, so these are a little too high pitched.
    00:22:41,975Let me try the subsonic impacts, let's see what that does.
    00:22:44,885(low frequency layered impacts)
    00:22:46,525That's better, still a little too much going on.
    00:22:48,383(low frequency booming)
    00:22:50,143(low frequency rapid booming)
    00:22:52,935That might be interesting,
    00:22:54,685so let me label this one something different.
    00:22:58,474(shallow sonic pulse)
    00:23:00,485(low frequency sonic booming)
    00:23:02,623(fast paced sonic pulse)
    00:23:05,403(low frequency sonic booming)
    00:23:06,423(laughing) That's really cool, but it's a little too angry.
    00:23:08,844(low frequency sonic booming)
    00:23:11,644That's like the War of the Worlds spaceship.
    00:23:14,055(layered booming)
    00:23:15,953Same deal.
    00:23:16,786(shallow booming)
    00:23:21,943Now, these are really cool,
    00:23:23,263but I don't want to use these here.
    00:23:24,623I want to use these in a different place.
    00:23:25,855So let's take the one that we liked,
    00:23:28,023and let's put the inpoint right at the beginning,
    00:23:30,933and line this up, and pop it in, alright.
    00:23:35,575And we're probably going to have to bring the gain down
    00:23:37,983a little bit, so I'm going to bring it down negative 12.
    00:23:40,503- [Bill] Strength--
    00:23:41,343(layered sonic pulsing)
    00:23:43,933Are often the sources.
    00:23:45,382- Okay, so what we've just done by layering
    00:23:47,543these three sound effects, and they're too loud right now,
    00:23:49,594they're too upfront in the mix,
    00:23:51,023but we've given this moment a little bit more drama,
    00:23:54,644because we're foreshadowing something is going to happen,
    00:23:58,594and then it happens.
    00:24:00,604And you get this pulse, this deep bassy kind of sound,
    00:24:05,211which you know, lower sounds, just the way humans are wired,
    00:24:09,232they sound like bigger things to us, right?
    00:24:12,252If you hear a big bassy sound out in the real world,
    00:24:15,362you assume that whatever is making that sound
    00:24:16,670is really big,
    00:24:17,503and so that can add more weight to a moment like this
    00:24:20,892where it's literally just some vines
    00:24:22,550coming out of the ground.
    00:24:23,700Nothing enormous is happening, but in terms of the story,
    00:24:27,530this is a big moment here.
    00:24:29,291So, let's keep going.
    00:24:30,562Now let's start working on what we can do
    00:24:33,860for the actual sound of the vines growing, right.
    00:24:36,332So there's this organic section, here,
    00:24:38,600which I played a little bit of that for you earlier,
    00:24:40,940and we've got the lifeforms,
    00:24:42,631so let's listen to some of these.
    00:24:44,002(ominous gurgling)
    00:24:45,971That one's way too gross.
    00:24:47,402(echoing and gurgling)
    00:24:48,522Too gross.
    00:24:49,355(liquids sloshing)
    00:24:50,188Too gross.
    00:24:51,021(insects crawling)
    00:24:51,854Too gross.
    00:24:52,687(liquids sloshing)
    00:24:53,520Let's come down here 'cause some of these techy ones
    00:24:54,739were less gross.
    00:24:55,751(low frequency echoing and pulsing)
    00:24:57,442(fast paced turbulent pulsing)
    00:24:58,898(ominous bass with liquids sloshing)
    00:25:02,020This one's got some grossness to it, but it's not as bad,
    00:25:04,471so let's mark that one.
    00:25:05,922(canned ripping)
    00:25:08,450(broken echoing)
    00:25:11,300(bass and broken echoing)
    00:25:14,151(ominous bass and liquids sloshing)
    00:25:15,258Alright, let's start with this one, okay?
    00:25:16,930So right when this thing starts to come out of the ground,
    00:25:19,100right there.
    00:25:22,722I'm going to take this sound effect,
    00:25:24,287and we're going to knock it down to minus 12,
    00:25:27,380and let's see what this does.
    00:25:29,340(pulse increasing in pitch)
    00:25:31,180(ominous bass and liquids sloshing)
    00:25:32,682It's way too loud, let's go another minus 12.
    00:25:35,940So you see, I did minus 12 the first time,
    00:25:37,791and now when I do it again, the gain gets set to minus 24,
    00:25:40,750so it's really bringing the levels down.
    00:25:42,481(pulse increasing in frequency)
    00:25:44,130(ominous bass with liquids sloshing)
    00:25:46,322Alright, now, even buried like that,
    00:25:49,007that sound effect is way too gross,
    00:25:51,522so I'm going to try to find a better one.
    00:25:53,162(liquids sloshing)
    00:25:54,522(low frequency insects crawling)
    00:25:56,991(low frequency echoing)
    00:25:58,939And I'm going to try this one.
    00:26:00,511(low frequency echoing)
    00:26:02,020(canned low frequency echoing)
    00:26:03,249It kinda sounds like tape ripping, or something.
    00:26:05,850(canned low frequency echoing)
    00:26:09,530And so I think this one might actually
    00:26:11,527be kind of interesting buried in the mix,
    00:26:14,528so let's do minus 24 on this.
    00:26:17,442(chiming increasing in pitch)
    00:26:19,776(canned low frequency echoing)
    00:26:21,568- [Bill] Are also the sources of great weakness.
    00:26:24,240- [Joey] Cool. Alright.
    00:26:25,328So I'm going to have to play with the mix quite a bit
    00:26:28,337so that this doesn't sound like--
    00:26:32,127I don't want it to be so noticeable,
    00:26:34,149I guess is what I'm getting at.
    00:26:35,099I want the audience to subconsciously hear it
    00:26:37,939and just kind of be an audio queue
    00:26:40,808that the vines are growing,
    00:26:42,739but I don't want it to be something
    00:26:44,869that you're paying too much attention to.
    00:26:46,869And I think I'm probably going to end up
    00:26:49,607layering a little bit more on there, too,
    00:26:51,686because this sound has a lot of high frequency to it,
    00:26:54,109I want something also with a little bit of low frequency.
    00:26:56,379(chiming increasing in pitch)
    00:26:58,328(canned low frequency echoing)
    00:26:59,469- [Bill] Are often the sources of--
    00:27:00,448- [Joey] Now, let's talk about something
    00:27:01,435really important here,
    00:27:02,456and that is when you're adding sound effects,
    00:27:05,776you want to be conscious of the point of view
    00:27:09,005that you want your audience to have.
    00:27:11,237So, what I mean by that is, here,
    00:27:12,957we are right up next to this.
    00:27:14,885We are literally, you know, a few feet from this plant.
    00:27:18,165In the next shot, we're way up in the sky.
    00:27:21,296At that moment, these sounds, if we're pretending
    00:27:24,985that the audience has now moved up here with us,
    00:27:28,496then these sounds cannot be that loud anymore.
    00:27:31,507So what I'm going to do is I'm going to command K,
    00:27:34,376I'm going to cut these sounds right there.
    00:27:37,405And what I can do is just hit G,
    00:27:42,305and subtract, I don't know, like another 20 decibels
    00:27:46,227from them.
    00:27:47,307- [Bill] Sources of great weakness--
    00:27:50,045- [Joey] Right, so when we get to it,
    00:27:51,677(canned low frequency echoing)
    00:27:52,523- [Bill] Are often the sources of great weakness.
    00:27:55,437- [Joey] You get that sense of woah, we've moved, okay?
    00:27:58,555And if it sounds too jarring,
    00:28:00,397I could always add a little bit of...
    00:28:05,216I could select the transition, just control click it,
    00:28:08,514and say apply default transition,
    00:28:10,673and add like a really short dissolve,
    00:28:13,424like a four frame dissolve or something to it,
    00:28:16,643which will just help transition us as far as the sound goes.
    00:28:22,024(canned low frequency echoing)
    00:28:23,325- [Bill] Are often the sources of great--
    00:28:24,525- [Joey] And maybe I took it down a little bit too far,
    00:28:27,304so maybe I should add back like 10 dB to it.
    00:28:29,845- [Bill] Sources of great weakness.
    00:28:32,251- [Joey] There we go.
    00:28:33,084And you can see that the sound effect
    00:28:34,340doesn't actually go far enough,
    00:28:35,923so I'm going to grab my slip tool,
    00:28:38,451and I'm going to slip this audio over,
    00:28:41,021so that then I can actually extend it all the way
    00:28:43,043to the end of that shot, okay?
    00:28:45,853(canned low frequency echoing)
    00:28:46,981- [Bill] Sources of great weakness.
    00:28:49,221- [Joey] Alright, so I'm paying attention
    00:28:50,190to where the camera is
    00:28:51,441which is also technically where the microphone is,
    00:28:54,350the pretend microphone,
    00:28:55,886that is recording the sounds that's being made by the plant,
    00:28:59,081alright?
    00:29:00,164So, then on this next shot here,
    00:29:02,925this is a big shot because this is where we see
    00:29:06,430what really is going on.
    00:29:08,177This plant is beginning the overwhelm the building.
    00:29:11,929So on this shot, I may want to start these sounds over,
    00:29:15,881and I basically just copied these
    00:29:17,879because they're going to be loud again.
    00:29:20,281(low frequency pulsing) (orchestral music)
    00:29:21,372But I'm also going to want some of that low frequency,
    00:29:24,636you know, that subsonic kind of feel,
    00:29:28,556which it's gonna be almost unnoticeable,
    00:29:32,948you're not gonna consciously really hear it,
    00:29:36,167it's just going to add this sense of bigness, you know?
    00:29:40,098(subsonic booming)
    00:29:41,607Something like that.
    00:29:43,205Let's just try putting this at the beginning here.
    00:29:45,378It's going to be too loud, so I'm going to bring it down
    00:29:47,967minus 12.
    00:29:49,858(low frequency pulsing) (orchestral music)
    00:29:52,090(subsonic booming)
    00:29:53,759Alright, so you can see that you go from
    00:29:56,397(chiming increasing in pitch) (low frequency echoing)
    00:29:57,698close up,
    00:29:58,531- [Bill] Are often the sources of great weakness.
    00:30:00,218- [Joey] Wide.
    00:30:01,355(low frequency pulsing) (orchestral music)
    00:30:03,039(subsonic booming)
    00:30:04,630Alright, and this impact is too much, you know?
    00:30:06,668I want something that doesn't have such a--
    00:30:08,754(subsonic echoing)
    00:30:10,255Maybe like that?
    00:30:11,088(subsonic booming)
    00:30:13,924(subsonic echoing)
    00:30:17,515I think this is the winner
    00:30:18,635because it doesn't have a hit on it.
    00:30:20,365I don't want it to sound like someone's hitting a drum,
    00:30:23,035right?
    00:30:23,868I just want a little bit of a deep noise to happen
    00:30:27,205around the same time.
    00:30:28,663(low frequency pulsing) (orchestral music)
    00:30:31,293(subsonic booming)
    00:30:32,813Okay.
    00:30:33,646So, you know, and I think that also
    00:30:35,443the sound that I'm hearing that I'm not liking,
    00:30:38,805it might actually be this sound here.
    00:30:41,344Right, if you remember, we layered a couple of sounds
    00:30:44,685to get this.
    00:30:46,675(repetitive booming)
    00:30:48,275Right? So that's one sound, so let me get rid of that,
    00:30:50,763and see what happens.
    00:30:53,805Make this one a little bit louder now.
    00:30:57,635(subsonic booming) (orchestral music)
    00:31:00,715Alright.
    00:31:02,035What also might be cool at this moment
    00:31:04,204is to really amp up the drama,
    00:31:07,252would be to layer in not just this low frequency sound
    00:31:10,955but also a really high frequency sound.
    00:31:14,144So you've got some of those in this toolkit, too.
    00:31:16,984So if we go into signal--
    00:31:21,064Sorry, not signal, I think it's velocity, maybe.
    00:31:24,184Let's see here.
    00:31:25,184So you've got gleams, right?
    00:31:27,013You've got this really high frequency things like this.
    00:31:31,555And what's cool is when you layer those in
    00:31:33,474with the low frequency sound,
    00:31:35,724(repetitive gleams)
    00:31:38,432you get a lot of drama.
    00:31:39,584It kind of adds this extra layer of contrast, alright?
    00:31:44,525So what I need to do is actually add some more audio tracks,
    00:31:48,096so I'm just going to go to my sequence and say add tracks,
    00:31:52,565zero video tracks,
    00:31:54,355and I'm going to add four more audio tracks.
    00:31:58,005Just so I have more room.
    00:32:00,544And then this gleam can start here,
    00:32:03,475and we can bring the gain way down.
    00:32:06,264(low frequency booming) (orchestral music)
    00:32:08,955(high frequency pulsing)
    00:32:10,365Alright, and it's just that mystical kind of tone.
    00:32:12,304All of a sudden, this shot has a lot more meaning to it
    00:32:15,216because you've got this otherwordly kind of sound thing
    00:32:17,821going on.
    00:32:18,995Alright, so, these are the kind of things that I think about
    00:32:21,816when I'm sound designing, okay?
    00:32:23,475And this is just one moment here.
    00:32:25,744I also may, on this shot, need to layer on
    00:32:28,675like another sound effect 'cause there's a lot of leaves
    00:32:31,285kind of flapping open really quickly right in your face,
    00:32:33,875and I want to hear those, you know?
    00:32:35,753I kind of want to feel them flying past us.
    00:32:38,245Alright, and so, I'm going to work on that,
    00:32:41,074I'm going to work on, you know,
    00:32:42,496what this thing is going to sound like as well.
    00:32:45,144And other than that, once we get to the top,
    00:32:48,605the big pay off is going to be this wall of sound,
    00:32:52,234the vines, and the high frequency, and the low frequency,
    00:32:55,584and then right at the end, almost goes to silence, right?
    00:33:00,195The music finishes, and all we hear is what wind.
    00:33:04,635Alright?
    00:33:05,468So what I'm trying to do is, you know,
    00:33:07,144we've built kind of a story arc visually,
    00:33:09,824I'm trying to do the same thing with audio.
    00:33:11,584We start with just wind, it's quiet, okay?
    00:33:14,456The intensity builds,
    00:33:17,285really starting to build here.
    00:33:19,525It builds to a crescendo as we go up the building,
    00:33:23,595and then it dies out there and we come back down, okay?
    00:33:26,576That is what I'm going to do with the sound effects,
    00:33:30,115so yeah.
    00:33:30,948I'm going to do that right now.
    00:33:33,365I built up the sound design for the rest of the piece
    00:33:35,605the same way, paying attention to camera distance,
    00:33:38,475to vary the volume and intensity of the sound.
    00:33:41,864I wanted a big sort of quiet to fall over the scene
    00:33:45,096at the end,
    00:33:45,929maybe with some light wind sounds,
    00:33:47,862and after it's all done, let's check out where we ended up.
    00:33:52,405(wind blowing)
    00:33:54,995(optimistic orchestral music)
    00:33:57,085- [Bill] Giants are not what we think they are.
    00:34:01,925The same qualities that appear to give them strength
    00:34:08,804are often the sources of great weakness.
    00:34:12,754(subsonic booming) (vines and leaves crunching)
    00:34:16,832The powerful are not as powerful as they seem,
    00:34:21,464nor the weak as weak.
    00:34:24,155(chimes glimmering) (wind blowing)
    00:34:27,725(orchestral music finale) (wind blowing)
    00:34:35,207- [Joey] So now that all the sound is in,
    00:34:36,477I need to mix the piece,
    00:34:37,917and I like to do that in Premiere.
    00:34:39,966It's got some really great audio features
    00:34:42,157and it's a really easy way to work
    00:34:43,728for someone like me who is not an audio professional.
    00:34:47,357Let me reiterate that, I am not an audio professional.
    00:34:50,707So let's take a quick look at the non-audio person's
    00:34:53,747sort of hacky way of mixing,
    00:34:55,597that actually sounds pretty good.
    00:34:58,117When you're mixing something, you're adjusting
    00:35:00,016the relative levels of everything,
    00:35:01,997the voiceover, the music, the sound effects,
    00:35:03,768so that you can hear what you're supposed to hear
    00:35:05,615at the right time,
    00:35:06,448but you're also applying some processing to those things,
    00:35:09,117some EQ, maybe some compression,
    00:35:11,335and if you want, you can apply effects
    00:35:13,197and all kinds of stuff.
    00:35:14,507And in order to do that in the most efficient way,
    00:35:16,957you need to understand just a little bit of how audio works.
    00:35:20,157So I'm going to show you by drawing a little diagram
    00:35:23,107in Photoshop, and what I'm hoping you'll see
    00:35:25,336is that audio works a lot like compositing in a strange way.
    00:35:30,597So for example, what we have is we have a music track,
    00:35:35,497okay?
    00:35:36,330And then we've got a voiceover track,
    00:35:38,782and then we've got a bunch of effects, right?
    00:35:41,145And we've got, you know, several tracks of effects
    00:35:43,375so let's just say effects one, effects two, effects three,
    00:35:46,057and so on,
    00:35:46,890and all of these tracks get mixed together, right?
    00:35:50,777They sort of get piped into the main mix.
    00:35:56,417So what happens is,
    00:35:57,516if I apply at EQ effect to my music track, okay, like this,
    00:36:02,921it doesn't affect the VO track.
    00:36:04,857And so if I want to add EQ to the VO,
    00:36:07,516I can add, you know, maybe some EQ,
    00:36:09,696and then maybe some compression.
    00:36:12,153Please pardon my terrible handwriting.
    00:36:14,737And you basically apply effects to each track individually
    00:36:18,777and then they are mixed together in the main track.
    00:36:22,017So the relative volume of these things
    00:36:23,995is also controlled on a track basis,
    00:36:26,074so the music volume might be you know minus 12 dB,
    00:36:29,516and the voiceover might be zero dB,
    00:36:31,686and then each of these effects,
    00:36:33,116remember we really mixed them low,
    00:36:35,086so they might be something like this,
    00:36:37,406and it gets really confusing,
    00:36:38,705especially if there's different volumes
    00:36:40,625on different effects tracks.
    00:36:41,916And so, it would be handy if there was a way
    00:36:43,777to group things together that are alike.
    00:36:46,625You probably want to treat the sound effect tracks
    00:36:49,961mostly the same,
    00:36:51,737and then apply the result of that to your main mix.
    00:36:55,766And then, on top of that, you may want to take your main mix
    00:36:58,473and apply some last minute EQ and compression to it,
    00:37:02,036which sometimes is referred to as mastering.
    00:37:06,657Alright?
    00:37:07,490So let me show you just basically how this works.
    00:37:11,105So we have our individual tracks, right?
    00:37:13,705So you've got your music voiceover, all your effect tracks,
    00:37:16,268and eventually they need to end up in the main mix.
    00:37:19,624By default, they all go directly into your main mix.
    00:37:23,115What we can do is we can create tracks,
    00:37:25,916special tracks in Premiere, called submixes, alright?
    00:37:28,966So if we create a submix track, alright,
    00:37:32,196so this would be our submix for effects.
    00:37:38,183And instead of piping this tracks into the main mix,
    00:37:40,764you pipe them into the submix.
    00:37:42,566So they all go into a submix like this,
    00:37:45,326and then into the main mix.
    00:37:47,966So now your chain looks like this,
    00:37:50,504and the reason this is really great is because now
    00:37:52,625you can affect the volume of the sound effects as a whole
    00:37:56,297really easily.
    00:37:57,394Keep in mind, I think we have something like six or eight
    00:38:00,126effects tracks, so you know, you've got many more tracks
    00:38:03,276going in here.
    00:38:04,385And then you can EQ and compress them however you want
    00:38:09,577as a group, send them into the main mix,
    00:38:12,126and you basically are taking all of those sound effects,
    00:38:15,096premixing them--
    00:38:16,617That's basically what a submix does.
    00:38:18,017And it makes everything a lot simpler.
    00:38:19,705So let me show you how to set that up inside of Premiere.
    00:38:22,434So, here is our track mixer,
    00:38:24,976and you can see we've got all these tracks here,
    00:38:26,733and we haven't labeled them at all.
    00:38:28,184So let's start just by making our lives a little bit easier
    00:38:30,794and labeling some of these.
    00:38:32,085We don't need to label them all.
    00:38:33,424But this first track here, I'm going to hit the S button
    00:38:35,645to solo it.
    00:38:37,353Track one, A one, that's our music,
    00:38:39,856so I'm going to come here and just select the track name
    00:38:42,153and type in music, alright.
    00:38:43,976So now, in my mixer at least,
    00:38:46,336I'll be able to see what I'm working on here, okay.
    00:38:49,834Then track two.
    00:38:52,896- [Bill] The same qualities
    00:38:54,016that appear to give them strength.
    00:38:56,334- [Joey] That's our voiceover, alright.
    00:38:57,645So I'm just going to name this VO.
    00:38:59,898The rest of these are all effects, okay?
    00:39:02,735So I don't really need to label them,
    00:39:04,682I mean I could take the time
    00:39:05,743and go through effects one, effects two, effects three.
    00:39:07,703It's not really that important.
    00:39:09,183Now what's important is this little section here,
    00:39:12,055this is the track output assignment.
    00:39:13,964And by default, they're all going to the master track
    00:39:17,034which is basically your main mix.
    00:39:19,133If I scrub all the way over here,
    00:39:21,055you'll see at the very end, you've got this master track.
    00:39:24,502You can actually apply a volume control
    00:39:26,943and any effects you want, compression, EQ, anything else,
    00:39:30,113to the master track, and it affects your entire mix.
    00:39:33,935So we can do individual tracks, we can also do the main mix.
    00:39:38,363Now we need to set up the submixes, okay?
    00:39:41,143So, you know, the way to do this is you go up to sequence,
    00:39:44,843and you say add tracks,
    00:39:47,393and we want zero video tracks,
    00:39:50,004we want zero audio tracks,
    00:39:53,103and then we want one submix track.
    00:39:56,861Okay?
    00:39:57,694And so what this is going to do is now, next to our master,
    00:40:00,575we're going to have this submix track.
    00:40:02,453So I'm going to call this sound effects, SFX.
    00:40:05,668Now basically, every track except for the music
    00:40:08,735and the VO tracks
    00:40:10,908should be going into this sound effects submix.
    00:40:14,497So by default, they're not.
    00:40:17,108Okay, let me turn off the solo here.
    00:40:18,916(chiming increasing in pitch) (subsonic booming)
    00:40:22,204So if you look at the levels of the sound effects submix,
    00:40:26,829there's nothing going in there.
    00:40:28,334We need to actually route the signals properly.
    00:40:30,924So I'm going to go to each track,
    00:40:32,944and I'm going to click on this master,
    00:40:34,706and now we get this option for SFX.
    00:40:37,135So I can just quickly click through all of these
    00:40:40,244and I'm routing each of these sound effects tracks
    00:40:43,465to the sound effects submix.
    00:40:47,432And then the sound effects submix
    00:40:49,706is routed to the master track.
    00:40:51,625So now watch this.
    00:40:52,735- [Bill] Weakness. (subsonic booming)
    00:40:55,346- [Joey] And what's great is now this one control
    00:40:57,354controls all of the sound effects,
    00:40:58,986so if we come back here--
    00:41:00,116- [Bill] Of great weakness.
    00:41:01,653(orchestral music) (subsonic booming)
    00:41:05,404- [Joey] Right? So now you have one slider
    00:41:08,455and any effects you put here are applied
    00:41:11,236to every single sound effects track simultaneously.
    00:41:13,676So this is a great way to now make our mixing
    00:41:17,004really only, you know,
    00:41:18,916we're really only talking about three tracks,
    00:41:21,084the music, the voiceover, and the sound effects submix,
    00:41:23,695alright?
    00:41:24,528So let's start by getting the music and the voiceover
    00:41:28,026to sound the way we want.
    00:41:29,116So I'm just going to solo those two tracks.
    00:41:33,716(optimistic orchestral music) - [Bill] Giants.
    00:41:36,466- [Joey] Now, I like to keep it simple.
    00:41:38,268As I've said before in this episode,
    00:41:40,289I'm not an audio guy.
    00:41:41,516I know just enough to make things sound a little bit better
    00:41:44,569and hopefully not ruin them.
    00:41:45,908So, here's a couple of things you need to understand
    00:41:48,678about audio, alright?
    00:41:50,729Let me just go ahead and clear this out.
    00:41:53,346So when you have any sound,
    00:41:56,809there are low frequencies at one end,
    00:41:58,969high frequencies at the other,
    00:42:00,460and depending on that sound,
    00:42:01,959you're going to have more volume in the low-end,
    00:42:04,188less volume in the high-end, or vice versa.
    00:42:05,919So for example, the human voice, doesn't--
    00:42:09,889You know, most voices, like mine for example,
    00:42:11,468doesn't have a ton of low-end.
    00:42:13,039But then as we get into the mid-range, there's more, right?
    00:42:16,788And then depending on how high your voice is,
    00:42:19,649you may have little peaks here and there.
    00:42:22,409But basically, you have this mid-range sound
    00:42:25,049and then it goes down, right?
    00:42:26,807At the very high-end there is no volume
    00:42:29,159because your voice isn't that high, alright?
    00:42:31,937And then on the other hand, you've got music.
    00:42:34,199Music is going to have instruments
    00:42:35,887that have a lot of bass to them,
    00:42:37,467so you might have much more volume in the bass,
    00:42:39,948and then, you know, let's say you're talking about a piano
    00:42:43,286or a guitar, something like that,
    00:42:44,868well those have mid-range frequencies like this,
    00:42:47,668and they have some high-end,
    00:42:48,887and then they come back down.
    00:42:50,377Now, we want the voice to show up.
    00:42:53,847Remember that this first curve
    00:42:55,507is the frequencies of my voice,
    00:42:57,548and this is the frequencies of music.
    00:42:59,716(laughing) This is very nonscientific, by the way,
    00:43:01,697this is not drawn to scale.
    00:43:03,166But the idea is if both of these sounds
    00:43:06,004have overlapping frequencies,
    00:43:07,908it's gonna start to sound muddled, alright?
    00:43:11,862For example, you can have music and voiceover
    00:43:15,407that sound great all by themselves.
    00:43:17,199You put them together, all of a sudden the voice
    00:43:18,708gets harder to hear, harder to understand.
    00:43:21,897So the solution is you can use EQing,
    00:43:25,127you're basically adjusting the volume of certain frequencies
    00:43:28,047of a sound, and you can pull down certain sounds
    00:43:31,148and pull up other sounds.
    00:43:32,564So what I might do is take my voice, right?
    00:43:35,687And boost the mid-range, right?
    00:43:39,079So I might add a little bit more of a peak here
    00:43:41,767and you need to know what frequency this is,
    00:43:44,025and it depends on who's voice it is,
    00:43:46,468but generally your voice lives
    00:43:49,115in around the 1K
    00:43:52,773to maybe 6K range, okay?
    00:43:55,072This is all stuff you can google, by the way,
    00:43:57,568this is how I learned it.
    00:43:58,997And then the music, right, what you can do with the music is
    00:44:02,589actually decrease the volume of the frequency there.
    00:44:06,677So I'm bringing the voice up,
    00:44:08,077I'm bringing the music down, about 1K, 6K, okay?
    00:44:13,116And so what I'm doing is
    00:44:14,357I'm creating a little more separation
    00:44:15,805between the voice and the music,
    00:44:17,098and that's how you can hear the voice better,
    00:44:19,578and it doesn't really sound noticeable.
    00:44:22,149It's not like someone's going to notice
    00:44:23,789that those frequencies are now dipped in the music,
    00:44:26,498it just makes the voice sound clearer,
    00:44:28,177that's all it does.
    00:44:29,288Okay, so that's the first thing we're going to do.
    00:44:31,208This is EQing, and then on top of that there's a step
    00:44:34,229called compressing.
    00:44:35,629When you compress something, typically we compress first,
    00:44:39,269but basically the way compression works
    00:44:41,069is if you have a sound that has very little low-end,
    00:44:45,829and then a lot of mid-range, and then no high-end, right?
    00:44:49,170So like here's your frequency chart.
    00:44:51,120What compression does is it basically takes, you know,
    00:44:54,160the range of this sound, alright,
    00:44:56,490which right now is like this,
    00:44:59,480and it literally squashes it.
    00:45:01,338So it makes the volume of the highest volume frequency,
    00:45:05,170it makes that a little bit lower,
    00:45:07,029and then it makes everything else a little bit higher,
    00:45:09,107and so what you end up with is the same sound
    00:45:12,290with the frequency volume sort of leveled out.
    00:45:15,410You don't really need to know too much
    00:45:17,229about the technical ins and outs of it,
    00:45:19,320what you need to understand is the result it has.
    00:45:21,890It makes voices sound punchier.
    00:45:24,568I guess that's the best way I can describe it,
    00:45:26,749it makes things sound punchier.
    00:45:27,709So let's go into Premiere
    00:45:28,928and let's talk about how to use this stuff.
    00:45:30,738So I'm going to start with actually just the voiceover.
    00:45:33,509What I'm going to do is I'm going to set an in, and an out,
    00:45:38,909and I'm going to come over here,
    00:45:40,610and I want to set this to loop,
    00:45:41,890so I'm going to turn on my loop option.
    00:45:43,429- [Bill] Giants are not what we think they are.
    00:45:46,770Giants are not what we think they are.
    00:45:49,568- [Joey] Alright, so this was recorded very well,
    00:45:51,707so it doesn't need a lot.
    00:45:53,019The first thing I'm going to do is
    00:45:54,147I'm going to come into my effects,
    00:45:55,638I'm just going to click this little arrow up here
    00:45:57,347on my VO track, and I'm going to go to amplitude compression
    00:46:00,539and I'm just going to use a single band compressor, okay.
    00:46:04,346And then I'm going to double click.
    00:46:05,579Did I say compreshor? It's compressor.
    00:46:07,968So there's all these presets, and you can try them.
    00:46:10,768So we can just try you know, like a voiceover compression.
    00:46:14,019Let's see what that does.
    00:46:15,878- [Bill] Are not what we think they are.
    00:46:18,179Giants are not what we think they are.
    00:46:21,097Giants are not what we think they are.
    00:46:23,625- [Joey] So that's off.
    00:46:24,776That's on.
    00:46:25,609- [Bill] Giants are not what we think they are.
    00:46:28,235- [Joey] So it just punches it up a little bit.
    00:46:30,496And you can, you know,
    00:46:31,625we could play with some different presets
    00:46:33,084and see what happens here.
    00:46:34,335What's voice thickener?
    00:46:35,766- [Bill] Giants are not what we think they are.
    00:46:39,176- [Joey] Right? That sounds much thicker
    00:46:41,438and the reason that that's happening
    00:46:42,746is there's a lower threshold.
    00:46:44,326If you look at these threshold settings,
    00:46:47,671this is setting the volume
    00:46:50,878that is the lowest possible volume
    00:46:53,095that is going to actually turn on compression.
    00:46:55,667And if you lower that, you're going to get more compression
    00:46:57,907across the entire range of the sound.
    00:47:01,496Now I don't want to mess with this too much,
    00:47:03,366this actually sounds pretty good,
    00:47:04,467I just want a little bit of compression on it.
    00:47:06,866Then I want to come here and I want to go to filter EQ,
    00:47:10,478and I just want to put EQ on there.
    00:47:13,806Double click it, and there's also presets for this.
    00:47:16,518I'm a big fan of presets, right?
    00:47:18,776I'm not an expert,
    00:47:19,966the people who made the presets are experts.
    00:47:21,878And what I want to do is add a little bit of presence,
    00:47:25,495right?
    00:47:26,328And if I select the warm presence preset,
    00:47:27,398you'll see what it's doing is
    00:47:28,696it's boosting a few select frequencies.
    00:47:31,174Now, as I said, your voice typically falls between
    00:47:34,166maybe 1K and 6K, 7K.
    00:47:36,627For female voices, it might go a little higher,
    00:47:39,336and for male voices, it's lower.
    00:47:40,987And you know, there's also this really low frequency here
    00:47:44,758being affected which I don't want.
    00:47:47,038And so all this is going to do is boost certain frequencies
    00:47:50,936of the voice.
    00:47:53,107- [Bill] Giants are not what we think they are.
    00:47:56,259- [Joey] Right?
    00:47:57,092So now a frequency I always hit is 1000,
    00:47:59,659and let me really crank this and you'll see what it does.
    00:48:02,367- [Bill] Giants are not what we think they are.
    00:48:05,430- [Joey] The 1000 range of your voice,
    00:48:07,910it's sort of towards the lower end,
    00:48:10,296and it's what gives you that body to your voice,
    00:48:12,630and if you go too far with it--
    00:48:14,099- [Bill] Giants are not what we think they are.
    00:48:17,168- [Joey] It kind of sounds like you're talking to a shoe box
    00:48:19,219or something.
    00:48:20,052So we don't need very much there,
    00:48:21,397I usually add between three and five decibels.
    00:48:24,350- [Bill] Giants are not what we think they are.
    00:48:27,680- [Joey] Alright, now the higher frequencies,
    00:48:29,160and I usually start about 5700, and if I crank that--
    00:48:32,390- [Bill] Giants are not what we think they are.
    00:48:35,320- [Joey] That adds clarity to the voice, okay?
    00:48:38,035Now, another thing you'll notice
    00:48:39,579is as I crank this setting here,
    00:48:41,998I can also just interactively grab it here
    00:48:45,008and move it around,
    00:48:46,347what's happening is it's creating this giant mountain here.
    00:48:49,907There's this Q setting and if I turn the Q setting up,
    00:48:53,627it makes that adjustment affect more of the range
    00:48:57,128of that frequency,
    00:48:58,648and if I turn that Q setting down,
    00:49:03,539then it creates a really thin peak here, okay?
    00:49:06,706And so I'm going to set this to like maybe 0.5
    00:49:09,638so that it doesn't affect these frequencies too much.
    00:49:12,379- [Bill] Giants are not what we think they are.
    00:49:15,627Giants are not what we think they are.
    00:49:18,619Giants are not what we think they are.
    00:49:22,427- [Joey] Alright, so this is without:
    00:49:24,219- [Bill] Giants are not what we think they are.
    00:49:27,059- [Joey] Here's with:
    00:49:28,128- [Bill] Giants are not what we think they are.
    00:49:31,590- [Joey] Alright, it's very subtle.
    00:49:33,110- [Bill] Giants are not what we think they are.
    00:49:36,499Giants are not what we think they are.
    00:49:40,150- [Joey] Just adds a little bit of clarity to it,
    00:49:42,240and that's all I wanted, okay.
    00:49:43,662Alright, now let's turn the music on.
    00:49:45,891- [Bill] Giants are not what we think they are.
    00:49:50,315- [Joey] Let's go towards the end
    00:49:52,810when the music gets a little bigger.
    00:49:55,130(orchestral music)
    00:49:56,042- [Bill] The powerful are not as powerful as they seem.
    00:49:59,253- [Joey] Alright, so the first thing I want to do
    00:50:01,631is turn the level of the music up a little bit,
    00:50:04,282because this music is pretty powerful towards the end
    00:50:07,674and I want to feel that.
    00:50:09,103So let me start by just putting the music down to zero
    00:50:11,901and finding a decent base level for it.
    00:50:14,493(orchestral music) - [Bill] Are often the sources
    00:50:16,943of great weakness.
    00:50:18,293(orchestral music)
    00:50:23,063The powerful are not as powerful as they seem,
    00:50:27,314nor the weak as weak.
    00:50:30,293(orchestral music finale)
    00:50:33,794- [Joey] Alright, so this is close.
    00:50:35,445Now when you have music and voiceover,
    00:50:37,895and especially when you then add sound effects,
    00:50:39,992it's almost impossible to just set the level of the music
    00:50:42,965and forget it.
    00:50:43,798You need to manually adjust the volume.
    00:50:46,485Especially, think about this at the beginning here.
    00:50:48,954(orchestral music)
    00:50:51,954- [Bill] Giants--
    00:50:53,135- [Joey] The song is very quiet, but then in the middle,
    00:50:55,234(orchestral music) - [Bill] Are not as powerful
    00:50:57,405as they seem.
    00:50:58,565- [Joey] It's much louder,
    00:50:59,704and so we need to increase the volume
    00:51:01,573at the beginning, decrease it in the middle.
    00:51:03,386And then on top of that, we need to increase the volume
    00:51:05,746a little bit in between these gaps in the voiceover,
    00:51:08,317especially right here.
    00:51:09,517(orchestral music)
    00:51:14,775Right? Because a volume increase
    00:51:16,346when the music changes there,
    00:51:17,626that can really add to the impact too.
    00:51:19,967So let's start out by just trying to ride the levels
    00:51:23,396of the music in getting a decent basic level.
    00:51:26,664And the way that I'm going to do this
    00:51:28,618is I'm going to go to this setting here,
    00:51:30,178the automation mode.
    00:51:31,306It's set to read by default
    00:51:33,146which means that if you adjust this,
    00:51:35,738then it just basically sticks there, and there you go.
    00:51:39,553If you set this to write, and I hit play,
    00:51:44,436I can literally click and interactively drag this
    00:51:46,344and it's going to record key frames as we go,
    00:51:48,778and I'm going to do my best and try to actually mix
    00:51:52,178this thing in real time.
    00:51:53,354Let's see how this goes.
    00:51:57,767(orchestral music)
    00:51:59,914- [Bill] Giants are not what we think they are.
    00:52:04,949The same qualities that appear to give them strength
    00:52:11,658are often the sources of great weakness.
    00:52:15,127(orchestral music)
    00:52:19,714The powerful are not as powerful as they seem,
    00:52:24,477nor the weak as weak.
    00:52:27,567(orchestral music finale)
    00:52:35,935- [Joey] So that was not bad except here towards the end,
    00:52:39,197I think I need to bring the music even lower
    00:52:41,245because it got a little bit hard to hear the voiceover.
    00:52:44,157- [Bill] The powerful are not as powerful as they seem,
    00:52:48,845nor the weak as weak.
    00:52:52,207- [Joey] So what I'm going to do is
    00:52:53,335I'm just going to come back here.
    00:52:54,797(orchestral music)
    00:52:56,967By the way, notice that this is automatically moving.
    00:52:59,346(orchestral music)
    00:53:01,035And what I'm going to do is I'm going to set this--
    00:53:02,717I'm going to go to a point
    00:53:03,797where I want to start recording again,
    00:53:05,255I'm going to set it back to write,
    00:53:06,797and I'm going to hit play,
    00:53:07,927and I'm just going to do the ending.
    00:53:10,047- [Bill] The powerful are not as powerful as they seem,
    00:53:14,815nor the weak as weak.
    00:53:17,975(orchestral music finale)
    00:53:26,854- [Joey] There we go.
    00:53:27,997Alright, so now we've got a basic music level
    00:53:30,186set for the entire thing,
    00:53:31,877and so now what I want to do
    00:53:33,116is do a little bit of EQ to that music.
    00:53:36,397Alright, so the first thing I'm going to do
    00:53:37,997is add another single band compressor to it,
    00:53:41,415the same way we did with the voiceover,
    00:53:43,575and I just want to basically beef up the music a little bit.
    00:53:47,157So let's see if there's any good looking presets.
    00:53:50,545More punch.
    00:53:51,378Metal face appeals to me, but I'm going to try more punch.
    00:53:54,615Just to give that music a little bit, literally, more punch.
    00:53:58,314Let's un-solo the voiceover here.
    00:54:02,418(orchestral music)
    00:54:08,847So this compression on the music,
    00:54:10,317all it's going to do, it's going to do a couple things.
    00:54:12,946One, it's going to help it sound better on more speakers,
    00:54:16,237like crappy laptop speakers, crappy headphones,
    00:54:18,807it's going to enable speakers with less range
    00:54:21,367to be able to play that music and still have it sound okay.
    00:54:24,757Ans it's also just going to help the music be,
    00:54:28,346I don't know, it's really hard to explain,
    00:54:30,087but it sort of makes it a little bit more apparent
    00:54:32,567in the mix, even at a lower volume.
    00:54:35,018So then I'm also going to add EQ to this,
    00:54:37,666and so what I want to do here,
    00:54:40,336is come in and I want to take those same frequencies
    00:54:44,226that I boosted on the voiceover,
    00:54:47,527and I want to dip them a little bit, okay?
    00:54:49,818And not a ton, like maybe minus five or something.
    00:54:54,418Okay?
    00:54:55,251And then I think it was 5700 that we hit,
    00:54:58,367so let's do that on the music and drop that by 5 dB.
    00:55:04,475Alright, and I don't think I actually enabled that.
    00:55:06,717You have to enable these channels,
    00:55:08,207otherwise nothing happens.
    00:55:09,456And so now if we turn everything on, music and voiceover.
    00:55:14,557(orchestral music)
    00:55:17,565- [Bill] Giants are not what we think they are.
    00:55:22,624The same qualities that appear to give them strength
    00:55:27,463are often the sources of great weakness.
    00:55:33,925(orchestral music)
    00:55:37,357The powerful are not as powerful as they seem,
    00:55:42,178nor the weak as weak.
    00:55:44,757(orchestral music finale)
    00:55:52,166- [Joey] Now what I noticed that time
    00:55:53,666was the volume of the music
    00:55:55,437sounded like it was getting a lot quieter
    00:55:59,175during this section than I wanted it to,
    00:56:02,333and I think what's going on is the compressor
    00:56:05,455may have too high of a ratio on it.
    00:56:07,774You see how high that ratio is? That's extremely high.
    00:56:10,637So I'm going to set that down to like five,
    00:56:12,855and let's see if that makes the volume any better for us.
    00:56:17,117- [Bill] The powerful are not as powerful as they seem.
    00:56:21,018- [Joey] Still a little bit quiet.
    00:56:22,477Let me actually turn that compressor off for a minute.
    00:56:26,397- [Bill] The powerful are not as powerful as they seem,
    00:56:30,797nor the weak as weak.
    00:56:33,578(orchestral music finale)
    00:56:37,008- [Joey] Alright so this more punch preset,
    00:56:38,752it's doing something weird to the music.
    00:56:40,721It's basically, because of the way a compressor works,
    00:56:43,782it can actually decrease the volume through compression.
    00:56:48,563And so, what I'm going to do, is I want something
    00:56:51,191a little bit, you know, just something really light.
    00:56:54,891Let's just say light mastering.
    00:56:57,062I want a low ratio, a high threshold.
    00:56:59,850This shouldn't really touch it too much.
    00:57:03,051(orchestral music)
    00:57:06,112- [Bill] The powerful are not as powerful as they seem,
    00:57:10,889nor the weak as weak.
    00:57:13,312(orchestral music finale)
    00:57:19,851- [Joey] Great, that's much better.
    00:57:21,331Now I may have to tweak the levels once again
    00:57:23,472after we get the sound effects in there,
    00:57:25,131but so far, our mix is working pretty well for me.
    00:57:27,662So the next thing I'm going to do
    00:57:28,723is un-solo everything else,
    00:57:30,191so now we've got our sound effects.
    00:57:32,312So let's start by--
    00:57:34,072Let's actually do the sound effects
    00:57:35,552a slightly different way.
    00:57:36,952So what we did with the voiceover and the music
    00:57:39,203is we did a compression and then an EQ.
    00:57:42,400Now, you can also do this a different way.
    00:57:44,848There's a very cool effect if you go into the effects here
    00:57:47,750and you say special mastering.
    00:57:50,899And the mastering effect is kind of this one stop shop
    00:57:54,619for compression and EQ plus some other effects
    00:57:57,280that are typically done in the mastering process.
    00:57:59,418And remember, mastering is sort of the finishing touches
    00:58:01,800on your main mix.
    00:58:03,048But you can also use this effect on submixes,
    00:58:06,510or even on individual tracks,
    00:58:08,378and let me show you kind of what it does.
    00:58:10,960So if I turn this off, and I play this section right here.
    00:58:14,600(orchestral music)
    00:58:20,590Now we're not hearing very much, so let me just go ahead
    00:58:22,328and mute track one and two temporarily, listen to this.
    00:58:25,939(high frequency pulsing) (low frequency echoing)
    00:58:31,390Okay?
    00:58:32,223And then with this effect on.
    00:58:33,968(high frequency pulsing) (low frequency echoing)
    00:58:42,718Alright so what this preset, what it's doing,
    00:58:44,897is it is compressing this.
    00:58:46,789That's that this loudness maximizer setting is doing
    00:58:49,400is it's applying compression.
    00:58:51,528There's some other bells and whistles here.
    00:58:54,617You can add reverb, an exciter,
    00:58:56,448which basically just brings the high-end up,
    00:58:58,240it makes it a little crisper.
    00:59:00,048And then there's an EQ here, so you can kind of do a lot
    00:59:03,467all in one sort of plug in.
    00:59:05,560And there's some different presets here
    00:59:08,000including one make room for vocals,
    00:59:09,819and if you click that, watch what it does.
    00:59:12,480It drops a little notch there, right?
    00:59:14,558Here's about 1000,
    00:59:15,927and somewhere over here's like 5000 or 6000.
    00:59:18,459And look at that, takes a little notch out for you
    00:59:21,059so it literally makes room for the vocals.
    00:59:23,078So what I want to do, I actually liked
    00:59:25,087this bright hype preset.
    00:59:26,888I liked what it was doing.
    00:59:28,667But I want a little bit more low-end,
    00:59:31,758and a little less high-end, okay?
    00:59:33,779So what I'm going to do is I'm just going to adjust this EQ
    00:59:37,177and actually bring some of that low-end back up,
    00:59:40,968and then I'm going to come here
    00:59:42,995and take some of that high-end out.
    00:59:45,728And actually, I can add another control point
    00:59:47,786and do it this way.
    00:59:49,395I actually like the way this EQ works
    00:59:51,627where you can grab these little brackets
    00:59:53,545and have the EQ affect more or less.
    00:59:56,198And I want that low-end to still be in the mix,
    00:59:58,888so let's listen to this.
    01:00:00,510(subsonic pulsing) (vines crunching)
    01:00:03,470Alright, I'm going to turn up the loudness maximizer, too.
    01:00:06,310(subsonic pulsing) (vines crunching)
    01:00:09,739And by doing all of this, look at the levels
    01:00:12,028that we're getting here.
    01:00:13,019If I turn this effect off.
    01:00:14,648(subsonic pulsing) (vines crunching)
    01:00:17,756Alright, it's hanging out around negative 12
    01:00:19,408but when I turn it on,
    01:00:20,528it goes way up, right?
    01:00:23,198(subsonic pulsing) (vines crunching)
    01:00:24,270So you may have to adjust the gain down a little bit.
    01:00:27,208Cool.
    01:00:28,041So now in this one effect we've kind of brought out
    01:00:31,272a little bit more of the high-end of the sound effects,
    01:00:34,502and we've brought up the low-end,
    01:00:36,329and it just sounds a little bit fuller,
    01:00:38,171and there's more impact to it, alright?
    01:00:39,971So let's listen in context with everything,
    01:00:42,982and I'm going to kind of adjust this output gain
    01:00:44,723on the fly,
    01:00:45,556and try to find like a good base level for it.
    01:00:51,118(wind blowing) (orchestral music)
    01:00:53,110- [Bill] Giants are not what we think they are.
    01:00:57,760The same qualities that appear to give them strength
    01:01:04,659are often the sources of great weakness.
    01:01:08,058(subsonic pulsing) (vines crunching)
    01:01:12,725The powerful are not as powerful as they seem,
    01:01:16,598nor the weak as weak.
    01:01:19,847(orchestral music finale)
    01:01:28,500- [Joey] Alright.
    01:01:29,599So this actually worked out pretty well.
    01:01:31,868What I'm going to need to do is
    01:01:33,170I'm going to need to go through my entire cut
    01:01:35,407and put little cross fades
    01:01:36,946on almost every single sound effect
    01:01:39,250that starts and stops
    01:01:40,347or changes volume drastically like here.
    01:01:43,020Remember when I was showing you
    01:01:44,530how I approached sound design,
    01:01:46,060sometimes even when you're cutting from a loud sound effect
    01:01:49,200to a quieter version,
    01:01:50,820'cause we're changing camera views,
    01:01:52,380it's nice to have that little dissolve in there.
    01:01:54,180It just helps kind of massage the edit.
    01:01:56,170I need to do that across the board,
    01:01:58,199and then I also probably need to do a pass in write mode
    01:02:01,610with this submix track
    01:02:04,279so I can also ride the levels of the sound effects, okay?
    01:02:07,039So I need to do that.
    01:02:08,167And then the one last thing I want to show you
    01:02:09,919before I actually go through the process and do all this
    01:02:12,290is I want to actually apply mastering to the final piece.
    01:02:16,559So because I'm going to do that,
    01:02:18,620let me come back in here to my sound effects.
    01:02:21,679Let me mute voiceover and music for a minute,
    01:02:23,900and one thing I'm probably going to need to do
    01:02:25,970is bring the loudness maximizer down and the exciter down.
    01:02:29,715So I'm going to bring the exciter way down,
    01:02:32,117and I want to show you what this does.
    01:02:33,890(subsonic pulsing) (vines crunching)
    01:02:37,871So that's with the exciter down.
    01:02:40,060(subsonic pulsing) (vines crunching)
    01:02:42,109That's with it up.
    01:02:42,959It just really hits the high-end and brings the high-end up.
    01:02:45,950And if we're going to have mastering effects
    01:02:48,448on the actual main mix,
    01:02:50,340I want a little less happening on this track.
    01:02:53,122So I'm going to bring the loudness maximizer
    01:02:54,722back down to 20,
    01:02:56,002and maybe boost the gain a little bit.
    01:02:57,732(subsonic pulsing) (vines crunching)
    01:03:01,391Okay so now, we'll turn everything back on.
    01:03:04,092(orchestral music)
    01:03:06,069(subsonic pulsing) (vines crunching)
    01:03:08,572And now I'm going to apply that exact same mastering effect
    01:03:11,292to my master track.
    01:03:13,780So we've got effects happening before,
    01:03:17,231and then another set of effects happening
    01:03:19,252after all of the mixing, alright?
    01:03:21,020So with this mastering effect,
    01:03:22,991you can come in here and I usually start with something
    01:03:25,471like bright hype, which is a really kind of heavy affected
    01:03:28,559mastering setting,
    01:03:29,660or subtle clarity is another nice one.
    01:03:32,380And all it does is it adds a little bit of compression,
    01:03:35,962it boosts the high-end,
    01:03:37,483it uses this exciter to add a little bit of that crispness
    01:03:40,564to the top, the really high frequencies.
    01:03:43,372And the loudness maximizer just sort of adjusts your levels
    01:03:46,954overall and helps you level things out.
    01:03:49,303And so now, without doing all of the little tweaking
    01:03:52,812and editing that needs to happen,
    01:03:54,394this is what our mix sounds like right now.
    01:03:59,638(orchestral music)
    01:04:01,332- [Bill] Giants are not what we think they are.
    01:04:06,154The same qualities that appear to give them strength
    01:04:10,874are often the sources of great weakness.
    01:04:17,084(subsonic pulsing) (vines crunching)
    01:04:20,831The powerful are not as powerful as they seem,
    01:04:25,314nor the weak as weak.
    01:04:28,183(orchestral music finale)
    01:04:38,677- [Joey] Alright, so there's a lot of little things
    01:04:40,237that could be improved.
    01:04:41,508Sometimes some of the individual sound effects
    01:04:44,279are sticking out too far in the mix,
    01:04:47,660so I want to bring those individual things down.
    01:04:50,090But now you see the workflow,
    01:04:51,668we've now got a pretty good working mix.
    01:04:53,930And just to show you how big of a difference that made,
    01:04:56,660listen to this section.
    01:04:59,160(chiming increasing in pitch) (subsonic echoing)
    01:05:00,929- [Bill] Are often the sources of great weakness.
    01:05:04,624(subsonic pulsing) (vines crunching)
    01:05:08,755- [Joey] And now where we're at.
    01:05:10,885- [Bill] Are often the sources of great weakness.
    01:05:15,045(subsonic pulsing) (vines crunching)
    01:05:18,805The powerful are not as powerful as they seem,
    01:05:22,453nor the weak--
    01:05:25,264- [Joey] Alright so we've got, you know, basic levels.
    01:05:28,125We've got our EQ and compression set up
    01:05:30,216and now we can really get in there, nitty gritty,
    01:05:32,702make sure we're happy with the relative level of everything.
    01:05:35,245I'm going to do a pass in write mode
    01:05:37,514on the sound effects submix,
    01:05:39,753and then we are going to have a final mix.
    01:05:44,750And now, gird your loins, here it is, Giants.
    01:05:52,012(orchestral music) (wind blowing)
    01:05:56,384- [Bill] Giants are not what we think they are.
    01:06:01,373The same qualities that appear to give them strength
    01:06:08,213are often the sources of great weakness.
    01:06:12,275(subsonic pulsing) (vines crunching)
    01:06:16,155The powerful are not as powerful as they seem,
    01:06:20,843nor the weak as weak.
    01:06:23,493(orchestral music finale)
    01:06:33,915- [Joey] So there it is.
    01:06:36,032Piece of cake, right?
    01:06:37,323It only took about 10 hours to get to this point.
    01:06:40,773It actually didn't really take 10 hours,
    01:06:42,664it's about 10 hours of behind the scenes,
    01:06:44,624but really more like, I don't know,
    01:06:46,482two and a half months of work slaving away.
    01:06:51,504But I really hope that if you've actually watched
    01:06:54,053all ten episodes of making Giants,
    01:06:56,470you've at least gotten an appreciation
    01:06:58,743for how much work goes into something like this.
    01:07:01,270Even a relatively simple piece like Giants
    01:07:04,264takes a lot of work, a lot of thinking,
    01:07:06,920a lot of trial and error.
    01:07:09,152I really hope you learned something, and if you did,
    01:07:12,550you know, maybe you want to join
    01:07:13,912the School Of Motion mailing list, follow us on Facebook,
    01:07:16,550and follow us on Twitter,
    01:07:18,008and help spread the word about what we're doing here
    01:07:20,790in these really in depth, absurdly long,
    01:07:23,710sort of learning video series.
    01:07:26,504There are many more of these planned.
    01:07:28,155So thank you for being a part
    01:07:29,424of the School Of Motion community.
    01:07:30,943Thank you for following the making of Giants.
    01:07:33,046I hope you enjoyed it, and we will see you later.
    01:07:43,774(gentle repetitive bouncing)
    01:07:46,376(energetic electronic music)