![]() Give the compound clip a name – I used “Drama SOT Audio” – and save the clip. Since the dialog clips are selected, it is easy to bundle them into a compound clip. This is WAY too soft for principle dialog! When I played them, the selected audio levels peaked around -20 dB. NOTE: Soloing has no effect on video clips. (Notice that the dialog clips retain their steel blue color, while the muted clips became black and white.) Soloing allows me to hear the selected clips, but nothing else. ![]() Then, I clicked the Solo button in the top right corner of the Timeline. To get an example of our audio levels, I selected just the dialog clips. (This technique can be used for far more clips and tracks, I’m just keeping this simple to explain the process.) It has a sync dialog track, three effects tracks, and one music track. Here’s a portion of a short dramatic scene. This is one of the reasons I prefer using Audition for my mixes, rather than Final Cut. NOTE: Premiere and Audition both provide LKFS and peak audio level measurement built into the application. Final Cut measures peaks using dBFS which stands for “ deci Bels Full Scale.” Current standards in both the US and Europe mandate that levels not exceed a specific LKFS for program content generally around -24 LKFS.įinal Cut Pro X does not provide built-in meters for measuring average levels, though they can be added using plug-in effects from MeterCast and Waves among others.įor this reason, this article will talk about “peak” levels, which are suitable when mixing audio for web posting. This means that during our final audio mix, we need to boost soft levels, make the levels consistent so that we can clearly hear what’s being said, yet make sure all levels always stay below 0 dB.Īudio pros, and those folks that need to deliver audio for professional distribution (broadcast, cable, or digital projection), measure levels using “average levels,” or the new standard of LKFS.
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