About mixer automation and keyframe recording, P. 89), About – Apple Final Cut Pro 5 User Manual

Page 876: Mixer automation and keyframe recording

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Chapter 6

Using the Audio Mixer

89

I

To reset a panning slider:

m

Hold down the Option key, then click the panning slider you want to reset.

To reset all panning sliders in the Audio Mixer:

m

Control-click at the top of any track’s track strip, then choose Reset All Panners from the
shortcut menu.

Note: Stereo pan can also be modified in the Audio tabs of the Viewer. For more
information on how to modify stereo pan in the Viewer, see “

Changing the Pan of

Audio in the Viewer

” on page 118.

About Mixer Automation and Keyframe Recording

Whenever you play back a sequence, the audio level and pan keyframes in the clips
control the mix automatically. This is called mixer automation, and is especially
important when you have a lot of tracks in a long sequence. Audio level and pan
keyframes allow you to build up a complete audio mix by recording keyframes on just
one track at a time. With keyframes, you can orchestrate a complete mix of audio tracks
by yourself, a task that once required several people, with each person focused on a
group of tracks.

There are several ways to add audio keyframes to your clip items and modify them in
the Timeline or Viewer. You can:

 Manually add keyframes with the Pen tool
 Enable the Record Audio Keyframes button in the Audio Mixer button bar, and then

do one of the following:

 Use the controls in the Audio Mixer to record fader and panning slider adjustments

in real time.

 Use a supported control surface with physical faders and pan controls. This allows

you to adjust multiple faders and panning sliders simultaneously.

Note: Although the steps described below generally refer to using the controls in the
Audio Mixer to automate your mix one track at a time, these steps can also apply to
using a control surface. For more information about using a control surface, see “

Using

a Control Surface With the Audio Mixer

” on page 98.

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