Final Cut Pro X Ripple Lesson - Mastering The Soundtrack - SOUND

Question 1

_________ is the last stage in the process of creating your soundtrack.

Answer 1

Mastering

Question 2

Mastering is the last stage in the process of creating your soundtrack. It involves outputting your final mix for your intended ________ format while ensuring that all the audio is at the proper ______.

Answer 2

delivery, levels

Question 3

Mastering is the last stage in the process of creating your soundtrack. It involves outputting your final mix for your intended delivery format while ensuring that all the audio is at the proper levels.
Monitoring your mix should always be done in conjunction with your audio ______, so it’s important to understand how to evaluate what you’re seeing in the ______.

Answer 3

meters, meters

Question 4

Mastering is the last stage in the process of creating your soundtrack. It involves outputting your final mix for your intended delivery format while ensuring that all the audio is at the proper levels.
Monitoring your ___ should always be done in conjunction with your audio meters, so it’s important to understand how to evaluate what you’re seeing in the meters.

Answer 4

mix

Question 5

Evaluating Your Final Mix
Once you are finished with your sound editing, the last step is to ______ through the entire project and adjust volume ______ to create an even volume mix throughout.

Answer 5

listen, levels

Question 6

Evaluating Your Final Mix
Once you are finished with your sound editing, the last step is to listen through the entire Project and adjust volume levels to create an even volume mix throughout. To help evaluate audio levels, we’ll use the built-in audio _______.

Answer 6

meters

Question 7

Evaluating Your Final Mix
Once you are finished with your sound editing, the last step is to listen through the entire Project and adjust volume levels to create an even volume mix throughout. To help evaluate audio levels, we’ll use the built-in audio meters. If they’re not already visible, choose Window > Show audio meters. Shortcut is _____ _______ _. You can resize the meters by dragging the vertical boundary separating them from the Timeline.

Answer 7

SHIFT COMMAND 8

Question 8

Delivery Specs

Optimal settings for digital mastering depend largely on the ______ you are mastering to.

Answer 8

format

Question 9

Delivery Specs

Optimal settings for digital mastering depend largely on the format you are _________ to.

Answer 9

mastering

Question 10

Delivery Specs
Optimal settings for digital mastering depend largely on the format you are mastering to. In digital mastering you must _______ for peaks, which is the loudest point your project reaches, and you must also master for average volume.

Answer 10

monitor

Question 11

Delivery Specs
Optimal settings for digital mastering depend largely on the format you are mastering to. In digital mastering you must monitor for _____, which is the loudest point your project reaches, and you must also master for average volume.

Answer 11

peaks

Question 12

Delivery Specs
Optimal settings for digital mastering depend largely on the format you are mastering to. In digital mastering you must monitor for peaks, which is the loudest point your project reaches, and you must also master for _______ volume.

Answer 12

average

Question 13

Delivery Specs
Optimal settings for digital mastering depend largely on the format you are mastering to. In digital mastering you must monitor for peaks, which is the loudest point your project reaches, and you must also master for average volume. If you were mastering for broadcast television, the peak volume should be ___ dBFS, with an average volume
of ___ dBFS. Some networks specify that the average level should be at ___ dBFS.

Answer 13

-12dBFS, -18 dBFS, -20dBFS

Question 14

Delivery Specs
…
Depending on the network, you are often required to deliver according to a spec sheet or bible. Not conforming to network standards could get your project rejected by the network costing you and/or your client a lot of money. By comparison, if you were mastering for non-broadcast delivery such as the web, DVD or iDevices, the peak volume should be at __ dBFS with the average volume at ___ dBFS.

Answer 14

-6, -12

Question 15

Delivery Specs
…
In computer audio, levels are measured in negatives, with 0 being the _______.

Answer 15

loudest

Question 16

Delivery Specs
…
In computer audio, levels are measured in ________, with 0 being the loudest.

Answer 16

negatives

Question 17

Delivery Specs
…
In computer audio, levels are measured in negatives, with 0 being the loudest. You want to avoid your levels ever reaching zero, or you’ll end up ________ your sound.

Answer 17

clipping

Question 18

Delivery Specs
…
In computer audio, levels are measured in negatives, with 0 being the loudest. You want to avoid your levels ever reaching zero, or you’ll end up clipping your sound.
Most importantly, during the final ___, trust your ears as well. The levels of each clip should sound natural alongside each other, even if they don’t perfectly match in the meters.

Answer 18

mix

Question 19

Adjusting Master Volume

Here I have my short film Cupkake open and I’ve place _______ at points where the audio needs some adjusting.

Answer 19

markers

Question 20

Adjusting Master Volume
Let’s start with this sound effect - a whoosh that when played back, is a touch too quiet. In this case, the editor has already added some keyframes to control the fade out of the effect.
By dragging on the volume bar, only one segment of the audio clip’s volume is affected. What’s needed here is an adjustment tool that will allow us to increase the volume without negatively affecting any of the keyframes that are already in place. Let’s revisit some of the volume adjustment options we looked at in lesson 5.
To increase the relative volume one decibel at a time, hold down the _______ key and tap the plus key.Tap the minus key to lower the volume in 1 dB increments. As you can see, the entire volume of the clip is raised or lowered and any keyframes you’ve set move up or down by relative amounts.
One caveat however; if you are using an extended keyboard the plus and minus keys located on the number pad do not work - so make sure you use the plus and minus keys to the left of the delete key.

Answer 20

CONTROL

Question 21

Adjusting Master Volume
Let’s start with this sound effect - a whoosh that when played back, is a touch too quiet. In this case, the editor has already added some keyframes to control the fade out of the effect.
By dragging on the volume bar, only one segment of the audio clip’s volume is affected. What’s needed here is an adjustment tool that will allow us to increase the volume without negatively affecting any of the keyframes that are already in place. Let’s revisit some of the volume adjustment options we looked at in lesson 5.
To increase the relative volume one decibel at a time, hold down the control key and tap the ____ aka equal sign key.

Answer 21

plus

Question 22

Adjusting Master Volume
Let’s start with this sound effect - a whoosh that when played back, is a touch too quiet. In this case, the editor has already added some keyframes to control the fade out of the effect.
By dragging on the volume bar, only one segment of the audio clip’s volume is affected. What’s needed here is an adjustment tool that will allow us to increase the volume without negatively affecting any of the keyframes that are already in place. Let’s revisit some of the volume adjustment options we looked at in lesson 5.
To increase the relative volume one decibel at a time, hold down the control key and tap the plus aka equal sign key.Tap the _____ aka hyphen aka underscore key to lower the volume in 1 dB increments. As you can see, the entire volume of the clip is raised or lowered and any keyframes you’ve set move up or down by relative amounts.

Answer 22

minus

Question 23

Adjusting Master Volume
Let’s start with this sound effect - a whoosh that when played back, is a touch too quiet. In this case, the editor has already added some keyframes to control the fade out of the effect.
…
If you want to raise or lower the volume of a clip in much great amounts, you’ll want to use the relative volume adjustment command. Shortcut for that is _______ _.

Answer 23

CONTROL L

Question 24

Adjusting Master Volume
Let’s start with this sound effect - a whoosh that when played back, is a touch too quiet. In this case, the editor has already added some keyframes to control the fade out of the effect.
…
If you want to raise or lower the volume of a clip in much great amounts, you’ll want to use the relative volume adjustment command. Shortcut for that is Control L. Let’s move to the next problem clip - the death metal music track and play it back…In the meters, the volume is 6dB higher than it should be.
Now I could select the clip, hold down the control key and tap minus 6 times, or I could go to the Modify menu, and choose > Adjust Volume > Relative. Shortcut is _______ _. The dashboard changes prompting user input. The plus indicates that any keypad entry will be a positive volume adjustment.
I want to reduce the volume, so I’ll need to enter a minus before the number of decibels I want to reduce - this case 6 - then press return. The overall volume of the clip is reduced by 6 dB, and if I play the clip back, the highest peak for the music will now be at minus 12.

Answer 24

Control L

Question 25

Adjusting Master Volume Let’s start with this sound effect - a whoosh that when played back, is a touch too quiet. In this case, the editor has already added some keyframes to control the fade out of the effect. ... The other volume adjustment is called an absolute volume change. Use this command when you want to set the volume at a fixed decibel level. In the next clip of the music, I’d like the volume to be -18 dB. But rather than dragging on the volume control, I can choose Absolute from the Adjust Volume menu (Shortcut is _______ ______ _), then enter the amount in the dashboard. (By inputing -18, you will GO to -18, NO MATTER WHERE YOU ARE CURRENTLY IN VOLUME.) The entire clip is now at -18 dB. This is actually a great command when you need to quickly reset an entire clip to a fixed volume like 0 dB. Be careful however, when using this command on clips that already have keyframes as an absolute volume adjustment will obliterate any keyframes previously set.

Answer 25

CONTROL OPTION L

Question 26

Working with Roles While the built in audio features of Final Cut Pro X may be more than adequate for some Projects, most professional post production work relies on the skills of dedicated audio engineers working in digital audio workstations like Pro Tools or Logic. In wrapping up this training, we’ll take a look at two methods for getting your audio where it needs to go once you’ve completed your Project inside of Final Cut. The feature I’m referring to is called _____.

Answer 26

ROLES

Question 27

Working with Roles While the built in audio features of Final Cut Pro X may be more than adequate for some Projects, most professional post production work relies on the skills of dedicated audio engineers working in digital audio workstations like Pro Tools or Logic. In wrapping up this training, we’ll take a look at two methods for getting your audio where it needs to go once you’ve completed your Project inside of Final Cut. The feature I’m referring to is called Roles. You start working with roles by opening the ________ _____.

Answer 27

TIMELINE INDEX

Question 28

Working with Roles While the built in audio features of Final Cut Pro X may be more than adequate for some Projects, most professional post production work relies on the skills of dedicated audio engineers working in digital audio workstations like Pro Tools or Logic. In wrapping up this training, we’ll take a look at two methods for getting your audio where it needs to go once you’ve completed your Project inside of Final Cut. The feature I’m referring to is called Roles. You start working with roles by opening the Timeline index. The shortcut for this is _____ _______ _.

Answer 28

SHIFT COMMAND 2

Question 29

Working with Roles ... In wrapping up this training, we’ll take a look at two methods for getting your audio where it needs to go once you’ve completed your Project inside of Final Cut. The feature I’m referring to is called Roles. You start working with roles by opening the Timeline Index. The shortcut for this is Shift Command 2. Clicking the _____ category will reveal a list of currently assigned roles for the project.

Answer 29

ROLES

Question 30

Working with Roles ... In wrapping up this training, we’ll take a look at two methods for getting your audio where it needs to go once you’ve completed your Project inside of Final Cut. The feature I’m referring to is called Roles. You start working with roles by opening the Timeline Index. The shortcut for this is Shift Command 2. Clicking the Roles category will reveal a list of currently assigned roles for the project. It’s important to note that _____ piece of media you import into Final Cut Pro is initially assigned a role.

Answer 30

every

Question 31

Working with Roles ... In wrapping up this training, we’ll take a look at two methods for getting your audio where it needs to go once you’ve completed your Project inside of Final Cut. The feature I’m referring to is called Roles. You start working with roles by opening the Timeline Index. The shortcut for this is Shift Command 2. Clicking the Roles category will reveal a list of currently assigned roles for the project. It’s important to note that every piece of media you import into Final Cut Pro is initially assigned a role. The role categories are _____, ______, ________, _______ and _____.

Answer 31

video, titles, dialogue, effects and music

Question 32

Working with Roles ... Clicking the Roles category will reveal a list of currently assigned roles for the project. It’s important to note that every piece of media you import into Final Cut Pro is initially assigned a role. The role categories are video, titles, dialogue, effects and music. While Final Cut Pro automatically assigns roles on import, sometimes roles are assigned INCORRECTLY. You can ________ media to different roles and even ______ your own role or sub-roll categories. Now, why are roles such a big deal? Well, in general they allow you to sort and separate your media into distinct categories. If you’re working on a Project with multiple deliverables, like a multi-language piece, you can keep track of which title elements belong to which version with roles.

Answer 32

reassign, create

Question 33

Viewing Roles | But for audio, roles are most useful for controlling how the audio gets ________.

Answer 33

exported