In this lecture we're going to take a look at now that we know the basics of sound effects. We've learned how to cut music using the waveform and how to cut visuals to the waveform to the music. How do we tie it all together? specifically when we're doing a sound effects pass. To get started, I quickly edited together a little video. I recently did some filming down at the beach.

So I went through and pulled some selects just my quick favorite little clips. And then what I did is, like we've done in previous lectures, I just made a cut on each of the peaks of the waveform. And not even all of them. I chose some and left others did some fades In this video let's say we have a script and our script is sound is very powerful. I know I should be a copywriter. So the first step before we do sound because we need to coordinate the sound effect and the embellishments remember in our last lecture, we did this whoosh so we need to coordinate that with the music.

And we also need to coordinate the movement and timing of these supers vortex So, my first step is music. Second step is visuals. Third step in this case is going to be the script. Now, a lot of the time, I will place the script without the visuals, that helps me a lot. In fact, I'm going to turn off these visuals of the beach that we just showed you. And now I'm going to worry about placing this script.

So again, let's use our waveform to our advantage. I know from experience that if we line up where this visual resolves, meaning it's no longer doing its major movement, and it's kind of settled, if we line that up with a peak on the waveform, were in good shape. So looking at I'm also going to mute This for a second. Looking at just this visual, where does it land. So it's moving, moving moving. I'm gonna use the left and right arrows to just step backward step forward, forward, forward.

There. So once it stops, I'm going to make a cut right there, and they keep it together and we make a cut. And if we put that cut on top of this waveform, let's turn everything else back on. Interesting. That's cool. So I'll fade this out or something for now.

Command D. Now we don't have to get all these perfect on the first shot, but our main goal is is to space these out correctly. So maybe this goes away earlier and again line up where that stops moving. Make a cut to remind yourself or as a placeholder, then move it over to line up the footage feed So let's fade out the text at the same time. What's next? We don't need all that intro Going kind of quickly here, but that's just because I want to get to the sound part of it. But again, I'm using the waveform to dictate all of this where all of this lands.

This stops moving right there. Line up that cut. All right. That's all we have so far. Great. So now our footage, or footage, our music and our text is kind of working together.

So now from the sound effects level, let's see how we can take it to a better place. First and foremost is the wish pass. So let's take this it worked before, let's see if it works with this music. So bring it down to its own layer. And here again, we want just as in our previous lecture as we wanted this to resolve as the footage resolved. Now we also want it to resolve as the music to be in concert with the music, and that way our sound design or music, or footage and our texts will all be in rhythm together.

A little early, it helps me to sometimes solo the sound design and solo the text and make sure those are on together. So this is a little early, maybe one more frame to the right. And it's a little loud in the mix. So I'm gonna go to our audio track mixer. I'm gonna keep all these wishes on a two. So I'll just drag this down a little bit.

Turn the footage back on. Great and now we can start repeating this. I like To not repeat the same one every time, maybe alternate. So I'll move on hold all to copy this, and let's do it. Let's skip the second text and do it on this one. And again, I'm going to solo this and turn off the footage, so I have less distractions.

Remember, this one comes on earlier, so it's kind of off screen. Let's check out. Let's see if we have another whoosh sound. They can work. Let's pick randomly Try this one. Now I'm gonna utilize another audio track here.

Because some of our weight, our clips down here will overlap, which is fine. And again, this is loud. It's on a new track. So I took that one down by negative 3.3. I'm gonna do the same thing here. And I'm gonna copy this one and put it on the last as well.

Okay, it's starting to fill out a little bit. Now in our last lecture, we put a hit right here. And I think that might actually be really cool because it's the word powerful. So I'm gonna go find that head again. Think that's called big drum. Big Hit big drum.

And I'm going to reuse I'm going to save some space and put it on this track and it should line up right with where I cut the footage. Which is right at the beginning of that waveform. So now we have a whoosh that's resolving right here, hit the music, footage cut, and the text resolving all at the same point. drum sounds a little early. Sometimes when Mary can't line it up exactly. It's either before or after.

You just have to listen because one of them usually sounds right when you listen to it. That's sounds more right. Now that we've done this, I would just throw in some ambience. Remember this from our last lecture. Let's throw that in underneath everything. That's much too loud.

Luckily it's on its own audio track. We can take it down real quickly. Still too loud. Pretty cool. And there's some things like this is the end of that the ocean clip. So, I really want wanted to finish out to the end of this section here.

Skinfold all drag it Do a pretty big cross dissolve because no one's really paying attention to that background layer. So it's pretty easy to spice up kind of haphazardly fade that out. And one more time here's everything working together.