Final Cut Pro X Ripple 5 SOUND Flashcards

1
Q

To reveal the audio meters press _____ _______ _

A

SHIFT COMMAND 8

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

The number of _____ ________ is determined by how your project was initially set up.

A

audio channels

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Press _______ _ to open the Project Inspector

A

Command-J

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Press Command-J to open the _______ _________

A

Project Inspector

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Press Command-J to open the Project Inspector, then click the ______ _______ button.

A

Modify Settings

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Whenever you create a new project, Final Cut Pro will automatically configure the audio channels for ______ ______ and playback.

A

Stereo mixing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Whenever you place a 6 channel audio clip into a 2-channel project, Final Cut Pro automatically down-mixes the ________ channels so they are correctly output as stereo.

A

surround

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

The advantage of this is fantastic. You can mix and output in Surround, then “flip the switch” as it were, and output a Stereo version of the same project. You can even go the other direction. Start your project in Stereo, then later switch to Surround when you want to deliver a Dolby 5.1 or 7.1 ___. That said, you would need to have the proper monitoring hardware connected to your Mac.

A

mix

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

In order to see the waveform clearly, adjust the clip size to its maximum height. Drag the volume bar on the music clip until you see red tips appear on the waveform _____.

A

peaks

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

Final Cut Pro employs what are called peak audio meters. Peaks are short, loud bursts of sound. When you are looking at an audio waveform, the tips represent the peaks, while the green section represents the _______ loudness of the clip.

A

average

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

In the analog world, audio is measured in voltage units or VU. Zero VU is the optimal _______ level for analog recording devices.

A

average

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

In the digital world however, sound is measured in dBFS or decibel Full Scale. Because analog sound waves are converted to bits during the recording process, any value above 0dBFS cannot be represented ____________ and therefore results in audio that is distorted or clipped.

A

numerically

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Clipped audio in the waveform look like someone took scissors and cut off the tips of the peaks. If your audio came into Final Cut Pro this way there is nothing you can do to your sound to make it better because the __________ has been hard-coded into the sound file. You’ll need to re-shoot or re-record your sound.

A

distortion

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

When working with audio in your Final Cut Pro projects, you need to understand how the digital meters correspond to the analog world. As a general guideline, if you are working with 16 bit audio your levels should average around ________ on the meters. If you are working with 24 bit audio, your levels should average around _______.

A
  • 12 dBFS, - 18 dBFS
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

If you are working with 16 bit audio for delivery to an iDevice, DVD or the web, -12dBFS is the Zero __ equivalent in the analog world. Keeping this in mind, all your important sounds like dialogue should be set to this level.

A

VU

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

If you hover your pointer over the volume bar of the dialogue clip, you’ll see it reads 0 dB. This value is reported when the clip’s ________ recorded volume has not been changed.

A

original

17
Q

The dialogue averages around -18 to -20 dBFS which would be perfect if we were mastering for _________ television or film. If we were mastering for the web, we would want this level to be at -12dBFS. Drag the volume bar upward until the value reported by the tool tip is 5dB. Play back the man’s dialogue and you’ll see it’s now averaging at -12 in the meters.

A

broadcast

18
Q

Notice there is a wide variance in the amplitude of the man’s voice vs. the woman’s and I’ll show you how to deal with this in the lesson on using a ___________.

A

Compressor

19
Q

Music clips have their own unique story. The volume on this clip averages at 0 dBFS in the meters. Almost all music that you download from the web, rip from Cd’s or drag into the Timeline from Final Cut’s Music Browser have been recorded at levels that push the peaks close to or above the __________ threshold.

A

distortion

20
Q

Engineers will give you many reasons why music must be mastered so loud, but in terms of using commercial music in your mix, you’ll almost always need to _____ it - in some cases quite drastically. For example, in order to have this piano melody average at -12 dBFS, I have to lower the clip’s volume 9DB. That’s quite a _____!

A

lower, delta

21
Q

Clips do not live in isolation from one another. Just because a clip’s average volume is correct when played back alone, your metering will change when you begin layering your sounds to create a more ________ mix.

A

dynamic

22
Q

When two clips are played back together the sound is combined to increase the overall volume output. This is why when mixing you cannot adjust levels of your clips outside of the context of the other sounds in the mix.
Music, sound effects all have an _________ affect on your output.

A

aggregate