[Music] [Nick Harauz] Hi, everybody. I'm Nick. I'll be teaching this session right now on Fantastic Audio for Fantastic Video. Wanted to tell you a bit about myself. I am the director of marketing at a company called Boris FX. We make plugins for video editing and motion graphic software. I do a lot of content in the creation of tutorials, not to mention putting together fast-paced trailers for releases, which involve also a ton of audio workflow. In addition to that, I've done a number of instruction or courses in LinkedIn Learning. I have Premiere courses online and have been doing it for about 10 years. And this is my fifth year at MAX, so I'm really excited to be here. It's awesome to be back here in person. And I'm really excited to talk to you about this topic, and we only have an hour. So here's my information. Take a screenshot. I'll do this at the end as well if you want to reach out or chat about anything audio as it deals with this session, or just have a question, I'd be happy to answer that. And here is what you're in for. Audio can go in a lot of different directions, but I want to frame a story for you so you know where I'm coming from. My experience with audio is not dealing with it 100%. I am a video editor, and I have to get out projects quickly. I deal with audio design on longer form projects which last anywhere from three weeks to a month, but I'm not necessarily someone who would go into Audition or do sweetening for long periods of time. And we're tackling this from a video editing perspective. What we're looking at is primarily in Premiere Pro, although we will visit a bit of Audition and some things I find useful and here are some of the topics. So anywhere from soloing, monitoring, and adjusting audio clips in the timeline, we're going to be covering some of the new exciting features today that just popped in the Premiere Pro beta. It dropped just before the MAX Keynote this morning. So if you haven't had a chance to download Premiere Pro Beta, I suggest you do, and you can check out enhanced speech, which I'll show you, along with a couple other new features which I'll talk about as we go and move forward. We're going to talk about fixing and enhancing and unifying audio with the Essential Sound panel. And also tackling music in a couple different ways. Anywhere from automating how we can add fade ins and fade outs directly on our track to how we can use remix, downloading content from Adobe Stock or just working with our own audio. And last but not least, other tools that we can use for enhancing inside of Adobe Edition. Does that sound good with everybody? Okay.

I used to be freaked out to always put up a survey, but I want to put this up now to say, I value your feedback, I always try as a content creator to make my stuff better. So I want to know what you thought. Just keep this in mind that you can do this to the MAX app, and I'll put up this slide again before the end of the session. And without further ado, let's just hop inside of Premiere Pro because we have a lot of content to cover. So exit my Keynote. Here I am inside a Premiere Pro. And there's a number of stages of different editing, but if came to audio, I would want to put myself in a workspace to begin to work with it right away. Usually, my process starts right here at the top. My zoom is working awesome. I'll go over here to my workspaces, and I'll do a couple things. So one is I like to show a workspace label. So I'm on Assembly right now. I like to switch this over to audio. There's a reason for the workspace label. One is to make sure that my window arrangements, like, where I am at what point in time. But there's an extra added benefit. If you ever, for some reason, rearrange something where you just don't know what happened by clicking on the wrong button, this button if you double-click it, resets it right away. Window arrangements, no need to go back for a keyboard shortcut. Now that we're in that audio workspace, I'm losing part of my screen because I'm zoomed in. Cool. Let's go here with this first track. I have a... I got a couple of clips. We're just going to play them back. We're going to hear them. And I want to use the new feature that got shown in Adobe Betas today. So I'll press the Ctrl tilde key to play full frame. First is just an audio clip and then two video clips. And then I'll tell the story behind each of them. And we'll see the results of what this new enhanced speech feature can do. So let's put it to the test with multiple examples so you know where you might be able to use this. So I'll press L first. This is just audio. Hi, this is a recording, just testing out the Enhanced Speech feature inside of the Beta of Adobe Premiere Pro 2024. Well, there's not as much background noises like before. I think I'm a bit away from the mic right now and just want to see its capabilities. Okay, that's one. [Woman] Intention is extremely important. If you think about any goal, we have to really be clear on what that is, and our intention comes before that sense. So it's kind of this idea of your commitment towards it, and it also taps into our desire for what we really want, right? So it's kind of the landscape of coaching for sure. [Woman] There's nothing like the feeling that I feel when I'm pregnant, when I'm drawing... Going back and forth between ideas. I love taking myself away and going totally inverted. So I want... Now let's just take a look at those on the timeline. Obviously, you might have been able to hear some of the sounds and I think... Did I accidentally put something on here as well? I'll play this back in stereo here in a second, but I wanted to go over because I filmed all of these to chat about how they were recorded so you know and what we're throwing enhanced speech against. So this first one is just an audio voice memo with my iPhone. It records it to mono, and this is how it's going to show up in the Premiere Pro timeline. We had two cameras in the shoot. I shot it about six years ago. It was a series of short three-minute, four-minute YouTube videos. Problem is it's right by a window, which happens to be in downtown Toronto. Lots of traffic. The background noise isn't too bad because we have a lavalier on the person, but it's still a little bit, you can notice it. And there's a few different ways you could have fixed it before, but we're also talking about enhancing the speech so the subject sounds clear. Now this was a total mess up. So the person forgot to record with the lavalier, they're recording from the camera mic, right? You can see how far away that is. It's about 3 meters away in the room. This was filmed in Santa Barbara. And at that time, this portion of the interview was not salvageable. So no matter what we did, we just had to get rid of that cut. Luckily, we shot over multiple days. So let's throw each of these at enhanced speech. One of the new features in the Essential Sound, which showed up, when I changed this to an audio workspace, is the Edit pane. And you've got this handy little button that will essentially tag your audio source automatically without you having to select it. And on longer form projects where you have multiple audio, like sound effects, music, dialogue, which can be extremely healthy, helpful to speed up the process. But here, we'll just start with the first clip. I'll auto tag it, and it should identify it as dialogue. We hit that little icon here at the top. One more thing that I want to do before we play enhanced speech, which is that this is just playing out of one side, the left speaker in this case, you can see that visually here with your audio meters on the bottom left.

So one way to fix this is actually just to reroute the audio by looking at the properties of the audio clip. And if I right click this inside of the timeline, I'm just going to find this, reveal it in my project. There it is. And I'm going to right click it here, and there's this option called modify audio channels. Now this goes much further than what I'm showing you. If you wanted audio to show up on two tracks, you can set that up right here, like other video editors or other audio applications of how they display it. There's a lot of different ways where you can show audio clips to show your stereo, mono or mixed sources. So in this case, I'm just doing left and right channel repeating that and just notice my timeline there, fixes that up to the left and right channel for that reroute. Now I can't tell you about my experience so much about this feature, I've been playing with it for a month, and it just still blows my mind how many audio tasks it takes care of in one step. And the fact that it is AI generated means it's going to get better over time as it learns through your content. So I'm going to press Enhance. That's the button.

And as a content creator, when everyone sells one-button clip, there's a sort of sort of skepticism that goes in your mind, but this feature is getting close to me being way less skeptical about these solutions. So just before anything else, I've played enhance. I just want to play you back the original clip because we haven't heard the stereo version. Hi. This is another recording, just testing out the Enhanced Speech feature inside of the beta of Adobe Premiere Pro 2024. Well, there's not as much background noises... I'm not sure if some of the background noise is coming across as much as I'd like, but there should have been way more noise.

But I'm going to press Enhanced Speech, and let's just hear what it's done to my vocals. Hi. This is another recording. Just testing out the Enhanced Speech feature inside of the beta... I am a meter away like in terms of my mic in the room. Much background noises like before. I'm quite a bit away from the mic right now. I just want to see its capabilities.

Okay. Now this is a pretty good situation. It's low background noise. We could probably do noise removal in the Essential Sound too, which is available to you. But when you have one click, which we don't know, I could just press Dialogue, and then Enhance...

Works in the background.

Let me play you the original again. I'll do Ctrl tilde in terms of playback. About any goal, we have to really be clear on what that is, and our intention comes before that sense. So... And let's see the enhancement to that audio.

That's extremely important. And the background noise. You think about any goal, we have to really be clear on what that is, and our intention comes before that sense. So it's kind of this idea of our commitment towards it, and it also taps into our desire for what we really want, right? So it's kind of the landscape of coaching for sure. Now you have a dial, which is a mix amount. The stronger that you pull it up, it's going to isolate the voice and try to remove background noise, but at the expense that it will try to cut off certain frequencies, which might not be desirable. So it's best to play with this amount. You might want to introduce some background noise to maintain some of those original vocals and then apply other effects in order to enhance it after. So you can experiment with this, but... - If you think about... - Here's a lower amount. Any goal, we have to really be clear on what that is, and our intention comes before that sense. So it's kind of this idea of your commitment towards it, and it also taps into our desire for what we really want, right? So it's kind of the landscape of coaching for sure. And now we have our last example. It's the worst, right, that mic on the camera.

There's birds in the background, you know? Like, it's just like, I cry... I almost cried that day after the shoot because it's like an extra day of a reshoot. So Enhance, again, extreme example, maybe I should select the right clip. Okay, auto tag, followed by identifies again as audio, Enhance, going through that dialogue, and I'll play the first couple seconds once it's done, it's processed. I could still move around my timeline, which is still awesome as well in terms of the processing power of this. Okay. I think, like, the feeling that I feel when I'm creating, when I'm drawing, when I'm using a paintbrush, when I'm erasing a... I'm sorry, can I get a round of applause? Isn't that, like, it's... I hear, like, a couple of the errors there, but to now have the possibility of a lost day of work in a production where you might not have recorded the sound and have that still be salvageable, it's just amazing. And that is it's a one-click wonder. So there's a bit about Enhanced Speech for you and the new features of audio tagging. Now I debated whether to bring this into the session, but I also think it's important to talk a little bit about text to speech-based editing because it does involve audio analysis. And now on that beta that you download today, if you choose so in your preferences, it will allow you to automatically analyze your audio and provide you with transcripts automatically. So no need to actually click on anything. It's just going to bring up this text-based window and do that for you. So I've already opted in for that under Preferences. And in this particular case, I just want to bring up my Text panel, which happens to be here at the bottom, and I can see the transcripts for my speaker. And, again, I could do this after in the Transcript panel. If you have it selected in your timeline or your Project panel, you can click, and in most cases, it's a fairly accurate transcript that we're looking at here. This has been around for a while, but we can identify the speaker. And to me, the most exciting part is the following. So you might have noticed a few speakers in my timeline have some ums and some uhs and some pauses, which are commonly known as filler words, which I'm using quite a bit in my own session and should use this tool if I could edit right now. And we could actually choose over here at the side to identify filler words in this text. Look at that. And do you guys see this little delete button here? Delete. Now we got two choices in terms of editing. Extract and lift. And all of a sudden, from an audio analysis, we delete all of that...

And now you could see, on my timeline, a cut there where the um was. It didn't get it perfectly. I've already tested this. But if we took a look and not rendered, because I pressed that wrong button, oh, really wants to, we would be able to hear, like, the last bit of the um didn't cut off. But it did remove most of it. And how many of you have to actually go... Let's try that again.

So you could see the um at the end, but we could obviously use the Q key to remove that. But in lots and lots of dialogue, where you just don't know what someone's going to say, to have that feature ahead of time, all being preprogrammed for you, I think, is the pretty incredible feature. Would you guys agree? Yeah? Awesome. So chatting about this interview a bit more. Actually, let's move... I wanted to go to one more example of Enhanced Speech, and then we'll move on. So let me switch back to my assembly workspace because I have another hidden sequence. And I want to go here and just allow you to hear the levels. This is something I noticed a couple days ago.

[Man] The only thing I'd like to share is if you had a dream, if there's something you want to do, don't get afraid to do it because life is really short.

And when we get through it, that's how... The audio levels are all over the place. Not to mention, could use a little bit of sweetening. We could see what enhanced audio might do to this, not to mention remove background noise in certain situations. In fact, this last clip here...

Has a bit of wind.

Work on the water gotta live their lives. So what I'd like to do is select all of these clips. Let me bring up central sound...

And zoom out, move here to the side.

Oh, this worked earlier.

Or are they already tagged? Oh, they're already tagged.

So what I did earlier was I selected all of these and actually just applied Enhanced Speech. You know what, some of these audio tags are long, so I wanted to show this because I thought this was super cool. What I noticed with Enhanced Speech when you run it is that it will not only try to automatically tag all of these as dialogue, but it will enhance your speech and set the levels, which is nuts. So it's doing an auto match for you.

And I thought that was pretty cool. So let me just... I'm going to just define these all as dialogue. And now that they're defined as dialogue, I don't know if I got all of them, so let me try that again.

I'll enhance this. For some reason, it's not selecting all the clips in my timeline. It's not me, it's just my computer is equally as anxious.

So I ran this on a bunch of clips earlier, and it did set all of these levels, accordingly, with after those tags, I just ran Enhance and I did it to all of these shots at once, which I thought was pretty phenomenal. And I'll just have to put up this example for you because it's decided not to work right now.

In the instance of just talking about matching sound in general, rather than doing this one by one, there's a few things here for you in tag selections that you should keep in mind. One is there's a loudness section, which will allow you to auto match. This is going to try to bring everything at a normalized level and speed up this process as well. It is based on a automatic LUF value of negative 23 and will try in some cases... I'm not sure why this is selecting. These must be wrongly tagged, but for some reason, it's not doing the adjustment. But that is right there an Essential Sound for you in terms of enhancing this type of material.

Now another common thing that I have quite a bit still in production is you'll have a separate audio recorder from what you use from your camera. This could be done for a number of reasons. One is that you're just trying to move very quickly with your camera, and you don't want to have any type of audio set up associated with it. So you decide to record the audio separately but are still recording just wild sound on the audio. Premiere Pro makes it really easy for you to sync audio sounds together. So if we take a look at these two clips in my bin, I'm just going to play back the first one. You can sort of see the audio levels from the camera, and let's listen to it.

So a bit further away, we could, of course, now use Enhanced Speech. But we have the better sound here with this AIFF file.

So in terms of syncing these, this could all be done in the Project panel. You simply select both of these sources. And if you right click them, there is an option here to merge clips. Under the Merge Clips option, I wanted to point out a couple things to you. One is that you can just use the audio timecode from the clip.

And the other is, in terms of synchronization, rather than manual points, like in and out points, if you didn't have timecode, you could just choose to sync it by audio. If you choose this, you then choose the correct channel that you want to associate the audio with. But my favorite by far is this, which is to remove the audio altogether from the actual video source clip. So if you select this and press okay, you're going to find a new clip inside your project. So it's this one right here, and it has the word "merged" tackled onto the end. Now if I come into a empty sequence that I have here, let's just take a look at it so you can see that indeed it was synced. So the audio track was much longer than the video. But it synced those together, not only that but removed the audio from the other clip, saving you a lot of time if this is a syncing process. Now in many of the things that I show, while I'm doing this to one clip sources, it's best to think about how you could do this with multiple clips at once, right? Because you could try that auto tag. In most cases, it does get it right, automatically classifying your audio. And then from that, being able to perform certain things inside the Essential Sound panel. Helpful so far? Awesome.

So I want to move on to another timeline where we're going to do a bunch of work and just kind of get familiar with a couple things we can do just with a general audio workflow in a Premiere timeline. And this is something that I see quite a bit when people are just starting out in Premiere is just like you're filtering with all of these things in terms of track height to make adjustments to video or audio at certain points in your process. In this case, there is an option under the timeline display settings, that little wrench menu, I love this, where it allows you to expand all tracks at once. This now opens up those tracks and we can make changes to them. But let's take this a step further. The step further is creating any of these actual displays we want ourselves. They're called track height presets, mapping them to a keyboard, and then with that keyboard, we're switching in the timeline. So we're switching between audio, video, graphics, all these types of workflow. But specifically with audio where you might have 10 or 20 tracks versus video, which is common to have a little bit less in certain processes, this could be super helpful.

So looking at my timeline, I'm going to press tilde to make this full frame.

And I'm just going to make these audio tracks, I've got four of them in this case, much bigger, and I'm going to make my video tracks much smaller. I'm only going to do this once. And once I've done that, I'll go back to the timeline display settings, and I'm going to save this as a preset. What do you guys want to call it? [Man] Large audio. Sorry. What's that? - Large audio. - Large audio. I can find that. So we'll call it large audio.

And this is the next important step, which is to map it to a keyboard shortcut, track height preset. And just look here how many there are. There's nine that you can choose from. So if I press okay, that's now saved to memory, and I'm just going to go back to my minimized tracks that we saw earlier. So minimize all tracks, nice and condensed. The next step I'm going to head back to my Premiere Pro keyboard shortcuts.

And here at the bottom, we can do a search for track.

And I'll also add the word height to it.

Was that the one? Was it track height preset one that we mapped it to? And it was large audio, right? Next to each of these is a shortcut. And you'll notice that for all of these tracked presets, including the safe track presets and the expand all, they're not mapped to shortcuts, and you can fully take advantage of this.

In this case, I'm trying to find a keyboard up here that isn't currently mapped to something. So I'll press Shift Command, and I want you to see that my entire one through nine are grayed out, which means they do not have a keyboard assigned by default. Me taking this and grabbing one, boom, mapped. And I can now save a brand-new keyboard altogether versus overwriting my existing one to take advantage of. So simply Save As, I think "large audio" is appropriate.

Gotta remember that Shift Command 1, press okay.

Let's try that out.

Now imagine that with, like, five or six of those for all different audio tracks, and you're adjusting them now in the timeline. That one trick, to me alone, just because it's such a small thing in terms of precision goes a really long way for an audio workflow especially if you're trying to master all of these clips at once. That only remembers the track height, not the full screen? Correct. So it's just limited... Great question. It just memorizes the track height. It's not the size of your window or your screen in those cases, right? Then in that case, you're saving that to a workspace, but there's no harm in kind of triggering a workspace keyboard shortcut and then having one really closely with track height preset to sort of set up that workflow right away. But that's a good feature request. You should put that in a little type there. Cool. Okay. So this has multiple audio tracks, and I just want to give it a listen in its current state. And for this time, we're just going to take a look at the audio meters.

[background music along with the spoken audio] So that's my voice. It needs enhancing. But we did this trailer actually last year, and it's the first part of it. The end result ended up being about 20 different tracks for sound effects. For this 3-minute and 30-second spot. And I worked in a timeline very similar to this. So I'm kind of talking to you a little bit about how I set up this workflow after we've chosen all of our sources and stuff for the final before we go into a final mix.

In this case, I'm going to make the timeline full frame and I'll start to use some of these tools on these audio tracks, which won't be available to me if the tracks are minimized. So in that expansion, we get just a ton of different features here that could save us a lot of time when we're dealing with multiple sources. First thing is to just take any of these tracks in solo it to figure out, well, what is on that track? In this case, I'll just head home.

Welcome to the ultimate content creator's toolkit. And I could hear that that is voiceover. What I usually do is then go here to the audio one name field and rename it, simply type in VO and then repeat this process. I'll solo this. We can have two tracks soloed at once, but now hear this next track...

SFX. So let me label that.

And this one's actually music. I won't play that back for you. And there happens to be another... A swish here at the bottom.

We'll just give that name Swish for fun. All right. So we've got these tracks, they're now named. And we can start to now play with them in general in terms of trying to mix their various volumes and their levels. So with the volume selected, I would come up here in the past and give this a selection, all of these tracks, or we can give the main one here. Let me just give this an audio tag because it looks like I have to select these individually right now and enhance them. And I'll just repeat that for this set of audio too. So one's enhancing in the background, the other's enhancing in the background as well. A good sign to see that this is finished, besides the Essential Sound panel is that your Effects panel is going to change color to allow you to know of these changes.

So that is what it came up with. And I'm going to auto match this too by selecting both of these.

This might... This should raise the audio.

So I'm going to come back to that as in, for some reason, this isn't working, I'm going to show you one more thing. By heading to the Window menu, I want to bring up something called the Audio Track Mixer.

This is a reflection of your timeline and individual level controls just for the track. And it just so happens that I actually brought down the volume of the overall piece, which is why this was low. And this is the one thing I love of this is your ability to bring down all of your tracks at once with a master volume in this window. But you can see a reflection of the timeline here at the bottom where the name tracks that I just made, VOSFX, music, swish are all named here. And now I have these individual controls where I can boost the entire volume of a given track. I did this over here too, but I just want you to hear that now this will adjust. Welcome to the ultimate content creator's toolkit with Boris FX's Continuum 2023. And just so you can hear before the Enhanced Speech, because I don't know translated well, I'll turn this off.

Welcome to the ultimate content creator's toolkit with Boris FX's Continuum 2023. Guys, hear the difference? Okay. So this control can, I think, when it comes to mixing, set your volumes really quickly as long as you have unified sound on that track. So coming here, I can then do the same for SFX, control music on an overall level, and then the final mix... Welcome to the ultimate... For my piece, which might be too loud right now.

Welcome to the ultimate content creator's toolkit with... So seeing that already, I'll just lower the music track altogether when we're seeing this. Welcome to the ultimate content creator's toolkit with Boris FX's Continuum 2023.

Okay. Now couple other things when it comes to the timeline that I want to go over.

One is that in the case of this voiceover being spliced in multiple locations and there being moments of silence in my voiceover, instead of lowering the overall audio track or the music, I performed ducking techniques inside the timeline. And because we have this tagging-based system, there is something unique that happens when you select a piece of music, which will auto tag. We'll see here in a second that it will identify as music, an option at the very bottom, which will allow us to take this and actually duck across a source of dialogue or music.

So I'm going to make my timeline a little bit bigger.

Come in here. All right. Let's select that music track...

And not turn on anything accidentally.

Go here to the bottom.

Do I have the music track selected? No, I don't. There we go. There we go. I have that selected correctly. Let... For some reason, this does not want to be dialogue. All right. Now I have a dialogue source. This should allow us to duck across that source. So...

What is happening? I'm not going to auto tag this. Okay.

Restart Premiere.

I know, I mean, that is one solution which I might do and we can head to Audition for a second, because that is probably going to solve this problem. Yeah. What we should see right now is that when we have a music track, an unidentified dialogue track, there's an option here under ducking... Oh, wait. I could turn it on. I've already done it. That's my problem. So there we go. User error. Here we go. I want to identify this as music. I'm going to click on ducking, and we're going to duck this against anything that is, in this case, dialogue, which we have in these two locations.

So with the music selected, going to generate key frames. Now it's based on these default amounts of sensitivity, how much do you want to duck it and how long does it take to fade in and out over those voiceover segments. So depending on how fast you want to slope this up and down, you can change this, and it will then change the display of the key frames. So here, I don't know if you can see my timeline. Does everyone clearly see that this is rising where there isn't voiceover sources? So in this case, if I wanted to go back to my track mixer and turn this up to a louder sound, Welcome to the ultimate content creators toolkit with Boris FX's Continuum 2023.

Trusted by industry professions for years...

And that ducking process is done just by simple classification. And in the instance, awesome, that you want to regenerate these key frames, we can depth this further and even make this more sensitive. This will come up and populate a whole different series of key frames for you, directly on the timeline without giving you new ones. Pretty cool? Now ducking is usually something that I perform a little bit later after I've chosen my actual sound. But it is very common to Audition different types of music to an extensive degree to find the right beats to hit where you're going to cut your audio. So what is not typical is me doing this right now because I'm not sold on this piece of music. First off, I'm going to undo a couple steps just to remove the key frames here and show you something that I do commonly do in the timeline, which I find to be very helpful. Since I will want to bring in my music, in many cases, if it's an outside source, but I always know that I'll have a fade in at the beginning. I apply a fade in to a track instead of an audio source. So you can, right now, really quickly, by the way, using your Option or Ctrl key... Sorry, Command or Ctrl key...

Command-click and create keyframes directly on the clip. And that will create a fade in on your music source. Well, what excites me in the timeline is this little key frame button. And you will never see it unless you expand this track, but there's this difference between clip and track key frames, which is super helpful. If I change this track key frames to volume, I'm going to create so we can see this a long fade in. Three seconds long. Going to Command-click to create a key frame here, and then Command Ctrl-click to create a key frame here. Lowering this audio, and I just want you to hear what happens.

Welcome to the ultimate content creator's toolkit with Boris FX... So everyone hears the fade in, I'll just do that again by soloing the clip.

Okay? So, again, I'm not sold on this music track. If you did this on a clip level and you deleted this from your timeline, you could Option-click and try to have that absorb the key frames. But because we did it on the track, whatever I throw in here will now have a fade in. I can Audition several sources and never have to do that again. And guess what we're about to do.

Let's Audition another track. So in order to do this, I'm going to show off the Browse panel for Essential Sound. This is built right inside and has a connection to Adobe Stock, but one of my favorite music, especially in times of trying to find a music source quickly, is by default that the bottom of this panel is a timeline sync button. What that does, when you press play...

Without bringing in the audio source, the playhead is moving from that location. I'm able to hear what the sound is going to be like before I bring it into the timeline.

Let's do this again.

Always starts at the beginning of the timeline based on that timeline sync, which is amazing, so you can hear all of these audio sources no manual drag. So what kind of... what kind of mood are we in? Talk to me. Say again. Happy? - Epic. - Epic mood. Epic, I like that. All right. Let's go with epic. And now we'll have all of these... The search minimized. We can check out the beats per minute.

Not sure... Not sure about that one. Let's go with uploading lifting indie pop, I'm curious what that sounds like.

Yes? Yeah, let's go with that? All right. So now that we have that in there, remember I have this empty track labeled music, that's a good place for it. I haven't purchased this. You'd have to purchase this after online if you want to use this, but I'm now dragging in a preview that I've placed into that track which is currently soloed. And I want to just listen to it and you see where the music starts.

That fade in is kept because you put it on the track so you never have to do it again. So really kind of cool tip in terms of having your fade in built on the track.

We do have a problem here that when I look at the audio, and that is it's just way too long for the end result of the video clips that I currently have in my timeline. So how I would treat this in this case is rely on my handy friend, remix. And there's a few different ways that you can remix. One is an Essential Graphics, but the other is an actual tool that allows you to drag the clip for where you want the audio to end. So in this case, I'll show this to you on the toolbar.

We see this here at the side. The third tool down, that's where your remix tool is, okay? Now this is going to try to find or remix this audio to end right where my last voiceover is. In fact, I'll do this a little bit after. So watch it get to work. It's analyzing the clip.

It's not precise because it is a very short clip. But it shows you visually where it's remixed that track and now ends pretty close to where I wanted it to finish, which is fantastic. You don't have to actually then add a fade in. It's just going to have an, in many cases, a natural finish. Now let's just hear what that sounds like.

Cool? Yeah.

I... Some of these features are, like, so new that I'm trying to find new ways of working with them because text to edit is, like, brand new. And to me as someone who's primarily spent his time in documentaries, it really challenges you to think of how you can now cut this content by having a transcript directly inside of Premiere Pro. I find the same thing with remix whereas someone who typically on music projects would add a fade out at the end of a music clip now having this ability to fully remix track and almost have it precise, so it just seems seamless, is another one of those factors. I mean, it's a year old or even older than that now, but it's just super cool. And you can do it with any track. It doesn't have to be done specifically with tracks that you get from Adobe Stock.

That's a great question. So do you enhance the audio before you do the transcript? You do not have to. However, in the case that if you have bad... I am not sure, actually, if you have bad audio, it might help it if you enhance it and then try to do the transcript, but I'm not sure based on the processing power of that. But in the case, if you had bad audio, you might want to try to see if your transcripts show up better if you've enhanced it ahead of time. But most cases, based on this new Premiere Pro Beta feature, you're having the analysis by clicking on a button, it's happening in the background when you import clips, which you'll know from there, the results that you get. So... - Question over here. - Yeah. Is there a way to tell that you put key frames on a track? Yes. So the one way visually in the timeline to see these key frames on a track is here on music, you'll see track key frames. - This will show you those. - So you have to turn them on. You have to turn them on to see them or you won't be able to see them. And one limitation is it gets a little bit harder to select clips once you've done that. So it's just good to keep a mental note. You'll see it in your mixer, though. That's the other case where we'll be able to see some of the animation happening, specifically on the track. So having the track mixer is another visual key, but it's not showing you that key frame, so to speak. Yeah. I just think there might be a trap where you go, "Why is this fading in?" Yeah, exactly. So that's a good thing too because if you don't know that it's happening, then you'll key frame it twice by accident. So we're at the 45-minute mark, and I want to spend the rest of the session, we're going to take a look at a few things in Audition. And I'll open the floor to questions if we have time at around the 10 after mark. So I'm going to frame this in a couple reasons of why I go to Audition. And it's not to say that some of these features aren't inside of Premiere Pro, but there are some pretty cool things that you can take advantage of when it comes to audio. So I want to play back this clip first. Because we're all together doing something.

It... It's just... Everyone hear that? So that is a sound or a cell phone taking place. You could try this within Spanish speech, but in some cases, it might not fully remove some of those background sounds. But they tend to be at specific frequencies rather than volumes, and with frequencies inside of Audition, you can really take advantage of that. So this clip, I'm going to just right click it. And as long as you have Adobe Audition installed, we could choose to edit it inside of Adobe Audition. In the background, in this case, it's going to launch, and we'll be able to see the Audition interface. The coolest thing to me is this is just the levels of the audio, but this is what I love. That's your frequencies. There is an effect in Premiere Pro that also shows you frequencies and allows you to affect the low, mids, and highs of a clip, and you may be able to remove it. But the one thing you can't do is this. So... Doing something.

Everyone hear that little whistle. It's a little bit challenging to get rid of it, but, hopefully, this will come across. So I'm just zooming in onto this section.

These are the kind of, let's call it, offending frequencies. And I've zoomed in one way, but also by scrolling here, I can zoom in another, which is kind of cool to own in on those specific frequencies. And I'll play back the section.

So I believe that this is one of them or the start of one of the offending frequencies that I want to remove. So with this default selected Marquee tool, I'm going to select it, and I get this little button where I can now lower that specific frequency section audio.

Let's go. I'll go quite drastic. This doesn't remove the whole thing. It's just going to remove the start of the actual...

Phone. So there was one whistle that just got removed. I'm going to remove another.

So I believe here's another.

I'll do a few of these so we can hopefully hear that removal.

It is just so...

It is just...

Let's try here too.

It is just so... Do you guys hear that one now? So I just dragged down the decibels a little bit more because of these speakers. When I was testing this on my home system, it doesn't show up on a laptop, but when you hear them on a stereo surrounded system, not quite the same. So I just have to select these a little bit further. In order to remove that, and by simply then going back into Premiere, this is all taken care of for you. Now one thing happens in the background that's really interesting in terms of Audition. It's actually created in the background another audio clip, that it places in your Premiere Pro project file, that gets appended with the word extracted on it. So it's a completely new audio clip.

Audition is at a destructive process, so in the saving of that clip, you're automatically overwriting it. So just keep that in mind with the whole round trip.

I want to show one more thing when it comes to Audition and come back to... Well, look who's there. It's me.

We're going to go back to the text to speech enhancement and then just do one little change inside of Audition. So let me play this back.

We're going to export a bunch of stills, uprise them, break it in After Effects, set them up for animation, and then use Continuum, as well as Sapphire for the final effects. Let's dive right in. Okay, so I want to hop in here and go back to the Text panel one more time. So I'll go to Window, bring up the Text panel, and show... One other thing that you can do with your automatic transcripts, so before I removed all of those filler words, the ums and uhs, but there's another thing too, which are pauses. Which are happening in my dialogue. You can kind of see the breaths. And depending on what I'm cutting for, I might want to just have these jump cuts inside a Instagram video and deem that as acceptable. And here I'll go pauses. You can see all of these pauses. But the magic of working with pauses happens to deal with this menu here. If you go to Transcript View options...

You can choose how far apart your pauses are. So when you come in here and you don't see your pauses, right now I set that at 0.9. Do you see how all these dots have gone away? It's no longer a pause, but if you come here to your Preferences, Transcript View options...

And then decrease this, pauses are a lot more sensitive. Come on and drag along. Okay, there we go. So here are my pauses. I could see them now, and because it's already searched, delete, delete all.

Pretty cool? Yeah? So in this case, I want to send this over to Audition. I'll send the raw clip.

Let's edit in Audition.

Every so often where you'll have a speaker and you just wish that they say that one line in a slightly different way so it felt like a concrete ending. But for whatever reason, it could be a low pitch or a high pitch, it's not helping with that cell. So in this selection process of Audition, you're able, again, I'll... I'm just going to zoom over here at the end. In order to change just the context of what I'm saying slightly by playing with the pitch, okay? You can see the in, there is a bit up.

I'm going to select that word in.

We're going to export a bunch of stills uprise... - And... - After Effects, set them up. Just play that back again. I can get this right, I promise. Okay.

Okay. So you hear the word in.

I'm going to head to my Effects, where we can add all of these types of audio effects. One thing is there are several of these that are inside of Premiere Pro. So this is a personal choice in some cases of where you prefer to use them and in what situations. But a lot of these you can take advantage of from the Effects panel in Premiere Pro. In this case, I'm just going to choose something called stretch and pitch.

And I'm going to play, which the... with the pitch shift here, just on that section. So I'm going to make this really aggressive.

We're going to export a bunch of stills, uprise them, break it in After Effects, set them up for animation, and then use Continuum as well as Sapphire for the final effects. Let's dive right in.

So maybe I... Should I pull back a bit? Yeah. I'll just keep it as is. So if I... I'll come in here. I'm just going to do, like, a negative 1-ish semi tones and we should be able to get this across. I'm going to go apply.

I'll remove my selection, go to the beginning. Export a bunch of stills, uprise them, break it in After Effects, set them up for animation, and then use Continuum as well as Sapphire for the final effects. Let's dive right in. So I could bring that down even a little bit more, where you could start to see how we're changing some of the connotations of what I'm saying, which I find to be a pretty incredible feature in those situations where you need that from a speaker. And you're doing it in a way that you're not affecting the overall timing of the piece, but just the actual audio itself.

What do you guys think? Awesome. So I know it's 4:14. Let me just put up my contact information for everybody. Did you guys all learn one thing? Yeah. Yeah? Amazing.

And guys, I appreciate your time. Just as a reminder, here's my contact info. You can take a shot, and I'll put up that slide again in terms of please let me know what you guys thought of this session. I hope it was helpful for you. And I really appreciate your time.

Thank you.

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