Alright guys, we're almost there, we finally made it to mixing. And I want to say if you followed along this far, congratulations, you're doing great. And think about already all the great tools and tricks, you know, for the next time you go into Edit, to work with audio, I think you'll be feeling a lot more confident that you know, what the different tools do and some methods to make everything come together really nicely. So now I'm going to give you an introduction to mixing and mixing has a lot to it. This is a whole career for people, audio engineers, they mix and so it is a crazy, cool, fun, detailed, precise science that is kind of hard to approach. Now for us, we want to be able to mix in Premiere and do it quickly and do it well.

So, like compression if you want to get into all the my new details of mixing, there's plenty of ways to research and learn that although be prepared for years of commitment to learn it. What I'm here to show you are my methods of once I finish and edit, how to do quickly mix that and get it ready for export. So to jump in, here is a sample edit that I have just finished. Have you ever heard that if you work for 10,000 hours at a specific skill, then you become a master of it. My name is Jason Randell. I am here to give you a fake dialog story.

Got no one here with me, which is by my eyeline keeps shifting. Usually there'd be someone sitting for the lecture right the camera, but now I'm looking at the screen to myself or at the Lancer, the microphone, and so on. It was really a good interview I did so good that I'm gonna turn off the visuals so you can't look at me anymore. So I haven't done anything to this mix yet. I've got the music track with no adjustments, no volume adjustments. Actually, this is carried over from a previous lesson here.

Let me undo this. So I've got no audio adjustments. No volume adjustments. And I actually don't even have an ending on here that we're going to get that. The first thing I look at when doing a mix, if there's dialogue or voiceover, that's my first focus. So I'm immediately going to solo that.

Once everything's once the placement of everything is locked. And then I'm going to take a listen and see what the dialogue needs. Have you ever heard that if you work for 10,000 hours at a specific skill Then you become a master of it. Wow. So that is a really noisy recording. There's obviously I didn't do any noise reduction on it.

And I know I am telling you that you can do all this in Premiere and you can do noise reduction to adaptive noise reduction. My name is Jason Randell. I am here to give you a fake dialog story. Do you hear how it started not doing it well and then it and then adapted to the noise. Got no one here with me, which is by my eyeline keeps shifting. Usually there'll be someone sitting to the left.

You've got high quality mode to ride with camera, but it's still the fact that it's adaptive. kind of pops out a little bit. So if you want to do noise reduction There are in Premiere, I do recommend you either by a third party noise reduction software like isotope, or can try the D Hummer. But now I'm looking at the screen now or get comfortable with the workflow going into audition. And I consider audition sort of part of premiere. It's all part of the Adobe Suite and all the programs talk to each other.

Bear with me here, I want to do noise reduction of this vo in audition. And because there's separate clips, I don't want to separately edit clip in Adobe Audition and do it individually for each one like we did in our previous lecture. So to start off, I'm gonna go to edit, edit in Adobe Audition sequence. So this is going to take my whole sequence into audition without rendering anything out. It'll live copy it. See, the video will be sent through dynamic link which is what links all the different Adobe programs.

So it's not we're not to waste time rendering. So take care of all this for us. Now open it up in audition. Now there's a bunch of stuff off to the side that I forgot about. There it is. So when you are doing this, it's a good idea to delete all that first or duplicate your sequence, and then delete it.

I'm just gonna delete these in here. And I'm gonna highlight the dialogue. It's just, it looks a little different than premiere, but it also looks pretty similar. We're just we just get the a one, a two a three. There's no video The video monitors here, but I have all the video turned off. So in the Select Color dialog, and then to say merge clips because I want these all to turn into one clip.

Great. So now it's just one recording. I'm going to double click on it. And that brings us to our mixer and refer back to the noise removal and audition lecture that you just went through. We're going to do the same method here. Now to find the noise, we can't go here, because that's nothingness.

That's where audition just merged the clips. So not to find the space in between where I was talking. Us plus the zoom in just like premiere. You'll hear some guy, so this is noise. So let's select this. Right click capture noise print Okay, then Command A or Ctrl A select all of it the same back out.

Now effects noise reduction, noise reduction process, we can preview it here. Have you ever heard that if you work for 10,000 hours at a specific skill, then you become a master of it. My name is Jason Randell. I am here to give you a fake dialogue story. I've got no one here with me, which is by my eyeline keeps shifting. Usually there'll be someone sitting to the left or right at camera, but now I'm looking at the screen to myself or at the lens or the microphone.

So as you saw, initially, it didn't sound very different. Try not to look at the lights. So now we have to play with this noise reduction slider and we have to say okay, it needs to do more reducing so you bring this up If you work for 10,000 hours at a specific skill, then you become a master of it. My name is Jason Randell. I am here to give you a fake dialog story. And if this is turned off for 10,000 hours at a specific skill, so it doesn't do it all but it helps a lot.

So we're gonna apply it takes out some of the noise and then we'll go back to our multitrack here. So now we have this noise removed file. And I just want to export this to bring it back into premiere. So we'll select this, it'll go up to File, Export multitrack, mix down just the selected clips. We'll save that as a WAV file and put it somewhere easy to find or with your project, hopefully Okay, now back in Premiere, we go to find that file. Here it is.

And drag that in. That goes into vo folder. Now I want to put it below this. Remember our very early lesson, we can right click Add track and place that right there. Let's make sure it lines up. Now I'm going to mute this track, and we just have this one.

So that whole thing I only did because this track has really bad noise. If your vo doesn't have bad noise is recorded Well, you can skip that whole step. Have you ever heard that if you work for 10,000 hours at a specific skill, then you become Master of it. My name is Jason Randell. I am here to give you a fake dialogue story. Got no one's here with me.

So after I'm happy with the voice, the next step is the balance of the voice and the music. And first I want to make an overall adjustment. And right now the music's too loud, which is my eyeline shifting, it's a little hard to hear the voice. So looking at our audio and track names, the voices this time is on a two in the music is on a three. So I'm gonna leave a two alone and bring down the music. Usually there'd be someone sitting to the left or right the camera, but now I'm looking at the screen to myself or at the Lancer at the microphone.

Try not to look at the lights. Usually when you're on set the audio, that sounds about good, this part is subjective. You just Want to make sure the voice is clearly heard. And I got a great tip from a sound mixer once is anytime you think you've got your mix right between the voice and the music, then go ahead and lower the music by one or two more decibels because the sound mixer always wants the music to be up there. But for intelligibility sake, you want to take it down just a notch. In most cases, it will start recording before the camera, go here.

So now that it's a good mix, now we're going to go and use this line, this volume line to bump up the audio in places where it should come up. And I like doing this in between gaps of talking longer gaps. So here's a pretty long gap dialogue story. Got no one here with so I'm gonna use the pencil. Create four points and then select the inner tube by clicking on one of them holding Shift then releasing shift, and now I can move this up. So in the gap between the voice, you can boost up the music.

You a fake dialog story. Got no one here with me, which is by mine then it goes back down again. There's another big gap here and when you do this you just have to be careful that when you're ramping up or ramping down, you give the voice enough room to breathe. So it's not distracting. Try not to look at the lights. Be a little more lights.

Usually when you're on set, the audio will start recording before the camera. We'll do one more over here. And then we'll do the ending Okay, now I can call action. Anyway, I don't know what we should talk about. So right at the ending as it starts fading out, let's ramp it up. And then it'll be at full volume by or nice, the end what we should talk about and we can do a cool ending, or we could also just fade out here.

All right, now as we were going through, there's a step with the dialogue that I skipped. And normally you want to do it when you still have clips. But here we can, since we already made it one file to do noise removal. I'll show you what I'm talking about. And that's on the very beginning and edges of some of these words. The lights you have that's sharply cut off.

Try not to look at the lights. That's not natural, you can tell that was a cut listening to it. So make a cut there. And here's where I like using the exponential fade in to do a very short quick drop off and it's got to be very small and not to look at the lights and we can play with the length. Look at the lights, too much. The lights, that's a little more natural Lancer at the microphone.

Try not to look at the lights, at least somewhat of a fade out. And then I would go through on each one. Usually when you're on set the if there's ever a click or a pop, you want to put that exponential fade right on the first syllable. You'll hear some guy yell sound speed and then The director knows call action. Anyway, did you hear that noise pick up out of nowhere. And so we can actually cut out that noise and put an exponential fade on the beginning here.

Very small. Anyway, there's still the noise with the clip, but it's not in the empty space. So it'll be less noticeable because we'll be concentrating on the voice, not the noise. You can copy this command see. Anytime there's a cut or a gap, I like putting that tiny exponential fade. So there's never any clicks or sharp drop offs to call action.

Anyway, I don't know what we should talk about. Try not to look at the light Now I do this method a lot in the promo trailer video I did for this course. So I actually recommend going back and checking that out because I let the music breathe in a lot of spaces. And I brought it way up to make an impact with music because I was talking about audio. So this is what I was doing. I was doing a lot of the pen tool in between dialogue I would get really, really close.

I even did it between things like this small. Now let's take a look at the intro. Because you can tell the intro is quieter than the beat. Have you ever heard that if you work for 10,000 hours at a specific skill, then you become a master of it. My name is Jason Randell. So I'm going to boost up the whole intro.

And since there's no dialogue over this part, I'm just going to take that with it. Maybe the piano gets boosted like that much. Oh, I can't believe I mentioned the shortcut yet. But if you want to play from the beginning, you'll shift and spacebar and then no matter wherever your cursor is, it will just start playing from the beginning. Have you ever heard that if you work for 10,000 hours at a specific skill, then you become a master of it. My name is Jason Randell.

I am here to give you a fake dialog story. Got no one here with me, which is by my eyeline keep shifting. Usually there'd be someone sitting to the left or right of camera, but not great. So that's really the intro to mixing is first taking care of the voice or the dialogue, doing Noise Removal if you need to. Then making sure there are no harsh clicks or pops by using small exponential fades on the borders and then doing a rough balance of the dialogue in the music by using the audio track mixer. We just took it down to a good volume and then We took it down a little more just to be safe.

And then using the pen tool to kind of finesse it.