OK guys let's start on your spectrum.
This is the effect we're going to work on in this lecture and the next lecture I'll place before I download
your assets is just in the previous lecture.
It's important otherwise you will not be able to follow along with me.
Now it's very important that you come and play with the effects that we study or we go through in every
lecture.
It's very important that you deepen your understanding and get excited about it.
It is not every effect that you are going to use just tomorrow but it's important that you set your
skills.
You work hard to understand the effect.
One day you will start asking yourself what havoc I'm going to use here and it would just pop up in
your mind.
If you have followed along with me than your practice activities and you know really played with the
effect itself.
So let's start with the spectrum or create a new composition we'll call spectrum and eternity by Twenty
25 will do.
Ten seconds is ok.
Make it black.
Good.
Now to apply the audio spectrum you will need a layer you can use a sound layer that's OK or you can
use a video.
But in our case here we are going to use a first solid layer which is obvious.
I'm sure he knew that I would create a solid lead use solid.
Give it a background color here.
Somehow greyish because I want to show something later on and less quality audio spectrum.
So this is the layer that will contain the spectrum or will generate the spectrum.
If you take audio spectrum and drop it on the solid layer immediately there is a transformation of the
story there and you have just a simple bar that you don't understand what's happening at all.
Goodguys if you play there is nothing that's happening.
So now we need it to get in the habit of not seeing what happened here.
Actually in this case nothing happened except that the effect controls audio spectrum has opened.
And if you look at the controls a bit.
The first one that you see is or Juliar there obviously for the audio spectrum to work or start giving
us an effect.
It needs a delay.
Now in your project file here you have to audio and a video.
Let's take the funky.
These orders are from Ben sound dot com.
It's a beautiful site.
You can go there download for free or give them credit or pay for their subscription is pretty nice.
By the way it has very many nice and B-3.
I would take the bend a sound funky element and drop it inside the composition.
Now we come back to audio spectrum and we go to the control and we can replace audio layer instead of
the same layer of the solid.
We take the Benson sound.
Now this is pretty cool guys.
You have already established that the audio spectrum will work on Bentson but leaving the band sound
here as a player an MP 3 player.
It is not very professional.
It's not even good.
Why.
Because you might already know that the ethics are composed the deep meaning one after the other.
In our case here if we leave this theory just as a player any effect we will give to the sound that
he had will not carry on the audio spectrum.
What kind of architecture you can give here.
First of all you have the time you can enable time remapping mapping you can't reverse the sound you
can stretch.
And there are many many others including when you come to the window and you have the ordeal is over
here for me.
You will notice that if you change you make it higher volume lower volume you play with the audio here.
It will not be carried on the spectrum so it is very important that you compose if right click and simply
compose and say three sound now what is happening exactly.
After you play composed that any actual put within the MP 3 sound composition on the sound layer or
the air will be carried over in the spectrum because it's already have been composed and that is very
important that you do.
I know I've seen all the videos on YouTube and so on.
Nobody mentioned this to you but if you want to become an expert in visual effects please always pre
compose so other ethics can be also composed if you'd like.
Cool let's go back to the audio spectrum and you notice here.
It has already changed to 3 sound.
The composition or the composition.
That's much better.
Let's look exactly what's happening here.
We have a line that has appeared with certain dots.
It has a starting point and an end point.
So you can actually move the start and end point the way you would like and position them on the screen.
But be careful.
It's always a line so you need to add other things such as mascon sound to make it a curve or a circle
or rectangle anything you want.
I will do the last one then.
The path here and use Burrard path.
I will leave them for later because giving you an example now would just mess up things for you.
I prefer to go to start frequency and frequency.
Now that the frequency is the frequency of the sound.
Where do you want to start.
All the sounds you hit on the arms of the bass and so on they are the start frequency the end frequencies
or the higher frequencies are the higher pitch such as the treble the highs and sings like this.
It depends of course on your layer itself.
So how do we work with this.
If I start moving on the timeline there is only something small happening here.
Actually this is the start of frequency.
If you increase the start frequency for example to 100 now you are paying between one hundred and two
thousand.
So it's really a very big gap that you need to play with.
But now you can keep on increasing this shrine.
Then you will be using only the highs or the very high frequencies.
What's better is the end frequency to lower output.
For example to 300.
So now exactly you are playing between the frequencies of 100 and 300 and you notice things start appearing
for you.
OK so this is 100 for example but this is the start frequency.
And here is the end frequency.
If this gap between the start frequency and the frequency you have 200 is too big then or so the gap
between the start frequency over these lines and these lines will also be very big and then you will
get kind of deformation.
Here is very big and here is very small.
So let's put this to 400.
And I know this truck.
I want to work from 200 to 400.
Of course you need to know your truck and you need to understand your track.
How do you do that.
Let's go back to P3 and if we press l you will notice that we will be able to see the waves.
These are the waves and how they are going to appear.
Of course you need to zoom in so you can see them better.
And this is exactly our sound.
Not this here.
I don't have to start from the beginning.
I can just stick my head and move it in and it will start from this point.
So this is around 30 seconds.
My spectrum is 10 seconds so its OK.
So I'm starting from here.
Now these lines are too small.
It will be interesting to make them a bit higher or a bit bigger for this you come to the maximum height
notice at the start and end the frequency will be affected by the maximum height.
Let's hide this one and things are starting to get even more and here are now if you play or you mention
you know the sounds of waves being what we are seeing is between 200 and 400.
I need you to understand and play a lot with the start and end the frequency depending on the track
that you are using depending on the audience.
I would take it to 100.
Here you are.
You notice how now with this kind of height the 100 frequencies are very many.
I look at the 400.
There are two little.
Let's take the frequency and it a bit.
Is what's happening now you have lots of 100.
Until you get to the 3400.
I hope you're understanding the concept here.
It's the 100.
And here is the 3400 in this case.
So actually there is a lot of difference.
You don't want to do that.
You want to balance it with your sound.
So I would take it to 400 that school I would put it to 200.
Well I'm working from 200 to 400.
That's not bad.
My maximum height is too high.
Maybe I'll take it down a shift.
Good.
I'm happy with that fine.
So now you know what is a start frequency and the frequency and how maximum height is affecting these
frequencies.
So please don't start using from 1 till 400 you'll have some order at the end over here and this one
it works is black that I really tried to choose.
I'll put it back at 200 and have them a bit you know working in a similar way and they're not too big.
Guys.
I hope all this was very clear and if you have any questions please post them in Q Any section of the
course.
I would be very happy to answer them.
I'll see you in the next next year where we will explore more of the controls.
CNN.