Now we're gonna go over leveling audio, specifically leveling dialogue. And this happens a lot when you get recordings back, and it's an interview or multiple interviews, and they're not all at the same volume. And it can be pretty tedious to go in and manually adjust to get the right volume, but sometimes that's what you got to do. And so let's take a look at what we got here. The fake interview I shot and here we go. So just looking at this clip, it looks quieter than this clip.

Let's take a listen. you're recording audio to make sure the cameras are also recording a scrap. We could talk about editing Yeah, so this is much quieter. And if we were going to take these synchronized clips into our edit and I'll do a quick edit between these two real quick. There have been so many times where I didn't even get it's really important when you're recording audio to make sure the cameras are also recording a scratch audio. So I'll take that soundbite as my opening line and I'll take a clip from here.

Hmm, I don't know what else really to do. Have you ever heard that thing where it's like if you work for 10,000 hours at a specific scale Then you become a master of it. And we'll take that clip. So here's our edit. And you see that one is louder than this one is this one is louder than that one, either a few ways to deal with this. And I'm gonna show you a variety of them in that some of them will work better in certain cases than others.

And the more you know, the more tools you know, the better. So the first one is putting them on a different audio tracks. Remember the audio track mixer? You don't see it remember window, audio track mixer. So now, we know that a one is quieter than a two. So if we bring down a two and hit play, recording a scratch audio, have you ever heard that thing where it's like if you were doing 100,000 hours Have a scratch audio.

Have you ever heard that thing where it's like if you work recording a scratch audio? Have you ever heard that thing where even if you were, if this was recurring, where some would be this quiet and some would be this loud, we could alternate it. And that's pretty easy. It's not my favorite method to do, because you're splitting up one person's interview among both tracks, but it does work and it's good to know. So I'm gonna take these tracks back to zero now and put these back on the same track. The next would be using this line.

And if we drag this down, and actually probably drag this up to six, also recording a scratch audio. Have you ever heard that thing where it's like if you work for 10,000? recording a scratch audio? Have you ever heard that thing where it's like as if you work for 10,000 hours. Now let's say undo that Here's something a lot of editors do, which I don't recommend in most cases, but also good to know, you can right click on an audio clip and hit audio game and adjust the game by however much you want, or normalize it. So let's say we want to add 10 decibels of gain to it.

We're pulling you in Okay, and you see the actual waveform get a lot get bigger, also recording a scratch audio. Have you ever heard that still too quiet so you can add some more? maybe eight more. So recording a scratch audio? Have you ever heard that thing where it's like if, and that's pretty close. The reason I don't like recommend doing this in most cases is that if you add too much game, like let's say we add 50 decibels.

Check the waveform comes completely blocked out, and it's way too much and going backwards. We're just to adjourn by negative 50 still does work. But it starts to get messy. And anyway, it's good for when you need it, but not for most cases. All right, now we're back to where we were. Next is a fancy premiere thing called the essential sound panel.

And that's in like the latest couple updates from premiere from Adobe. So window essential sound. And it opens up this new panel here, where you've got different types of, of audio, dialog, music, sound effects, and ambience and it'll kind of have have preset effects, or things that can do with each one. So I'm gonna select both of these here. And now you tell premiere what it is assigned in audio to the selection. dialog, and what do we want to do?

With the dialog, we want to match the loudness. So let's hit auto match with both of these selected and it says it's been automatch to a target loudness of negative 23 lufs loudness, which is loudness units full scale. It's really important when you're recording audio. So recording a scratch audio. Have you ever heard that thing? Now premiers automatically done it for you.

So imagine if you had a ton of dialogue and it wasn't all interviews, running gun, in the field, whatever, and all different amplitudes and loudness is, you could select all of it, make sure it's dialogue that's coming unselected we have to tell this as it's dialogue. And now we could select all of it, and automatch. Now all of this is going to be the same loudness. When you go to sync it up, it's gonna be tough. But if you're ever on set, and that's the quickest way I'd recommend leveling is in the essential sound panel. And what you want to do if you have more than one speaker or interviewee, put one of them on a one, and the next one, a two.

And you can still highlight all of them and select that and auto match the dialogue. But they'll be on different tracks here. In case premier messes up a little bit and one of them's not quite as loud, you could boost them up in relation to that guy. You could take both of them down. You can do more effects that we'll get into but it's a good idea to always give each person their own audio track.