Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
but you can assign a voice that is already used by another track. Only one track on a voice can play
at the same time, that being the lower track number; in other words, the track nearer the top of the
edit window. Therefore, if you lay an ambience in on track two and tight-cut dialogue in on track
one, with both tracks assigned to the same voice, every time a line plays the ambience drops out.
Neat trick in some cases. There is a preference in setup for the speed of the switch as well, so you
can make the switch a very fast fade. Edit > strip silence can be used to remove all areas between
dialogue lines when using this editing strategy, to ensure totally clean audio between lines.
In either case, the Audio Suite plug-ins can be used to clean up and match the dialogue on a clipby-clip
basis. Select the clip you want to work on in the timeline and open one of the Audio Suite
plug-ins. Gain can be used to bring up low lines or lower hot lines. Only work on audio that clearly
needs work, save tweaking for the mix.
You can use 7 band EQ to remove rumble and some hiss (see Figure 7.5). All of this is done to on
the clip only, so fi nal adjustments will always be made in the mix where all the tracks are heard at
the same time. Don’t overdo things here. Always do the least necessary to get close to where you
need to be. The processing is not destructive, the originals are still in the region bin.
Figure 7.5 The Pro Tools plug-in DINR can be used to clean up some if not most of the background
noise. Sample a small section of background sound only and let DINR use it as a guide to remove all
similar sound
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