So when it comes to sound design for video, there are three main areas that we should concern ourselves with. One, I like to call it ambience. And this is basically anything that is in your scene that normally would make a noise or have some sort of sound to it. And then you are adding that sound back in. Second would be what I call whooshes or swooshes. And they are named like that too.

And that's a whooshing sound that can be used for graphics or motion or any kind of speed. And this is a really helpful tool to quickly bump up the energy of your project third, would be a hit. And these are these come in many different forms with a sound design. head is what you hear in trailers, it adds emphasis adds impact and use correctly, it can make the impact of your work felt even more. So I'm going to go over using each of these techniques in an example to show you how you could use it in your video. First, we're going to start with ambience.

So I've got a clip here. That is an ocean scene with a wave coming towards the camera. And it would be much nicer with some sound. Right before this, I went on YouTube and I searched ocean sound effect and I found one that was royalty free. And I downloaded that and put it in my sound effects folder here. And I'm just gonna drag drag this on and hit play.

Already pretty good. Now this clip is slow motion. So synching up the time to the visuals perfectly, isn't really necessary, it's more about the feel of it. Our wave is already crashing in motion. So maybe I want to have the crash of the waves sound happened sooner and then resolve a little bit. And looking at our waveform, it looks like the waves, the actual wave starts and gets loud and then resolves.

So let's start on our getting loud part. That towards the beginning and then have it fade off towards the end. We'll do a tiny fade in so we don't have any kind of click or anything. And just that little ambient sound effect makes the world of difference if you're doing this kind of sound design throughout Your video, it is a whole different dimension that you're reaching the viewer on. You have visual, you have music, you have the story, whether that's dialogue or text. And now you have this sound, this ethereal nature of where your environment is, and communicating the sounds that people recognize the ocean, the wind, communicating that through your work will allow a different sort of connection.

Next is the wishes. There have been many times where I've been asked to do a whoosh pass. And a whoosh pass is basically putting in a bunch of wishes or swishes as I have here for things like this. And that is a simple Title I just created. And it, it flies in it's got some motion to it. And it's just quick and dirty and premiere.

If you want to see how I did it, you just Start with your text and then make a keyframe. Then go to the beginning of the clip, scale it way up, and then I applied a blur to it, it starts out blurry and gets less blurry until it lands. And if you do this in After Effects, you can don't do the blur here just use the motion blur and After Effects and it will look a lot better. So let's see how we can embellish this. Look here and start playing some of these. Double click to pull it up in our preview monitor or source monitor.

Now when I start going through these, I'm looking for something that will match the length and tone of this. I don't have much of a tone because it's not over visuals and how many contacts but we can look for length. So the, the length of it starts here and resolves right there. Just try this. Now the key to the the wishes or the swishes is having the resolve point, which means when it ends lineup with where the video resolves to turn this off for a second and the visuals stop moving right there. So we know that audio should stop.

It should finish what it's doing mainly. Try that out. Okay, so that's not even close. Let's just listen to the audio. All right, sounds like it resolves right here. So let's try moving this closer to their closer, you can kind of fudge around and get the hang of this is actually a tough whoosh that I picked.

That's cool. So now see how much more impactful this super maybe I would line this up. So starts with the sound really big premiere. Cool. Third, let's go over a hit and hit something like this like an impact So I'd like to place one of these on this music track. I have a strategic spot to enhance whatever visuals I have.

So I have this intro. And right here, it felt like this is the last minute before it's leading up. Like this is building building. And we can tell it's gonna drop into a beat. But right here, we'll listen again. It seems like there could be a cool impact moment.

So I'm gonna look for a hit that I can overlay right here and see what we can do. That's got to be something that fits the song might work. It's very plain, so maybe it'll blend in. So here this is kind of like synchronizing our synchronizing lesson with dialogue. We're gonna match up the waveforms Maybe that's a little loud, we'll take it down. So it's kind of like a trailer hit.

These are the hits that you hear all the time in trailers. And the key to using them is placing them rhythmically. So maybe we have a cool piece of footage coming on right on that hit without the hit is a very different meaning than with it. Of course, that's not the most menacing wave to go with this big hit, but you get the idea. So those are the three types the three categories of sound design, I recommend getting started with its ambience. wishes and hits