“Mastering Audio Normalization with DaVinci Resolve: An In-Depth Tutorial”

How To Normalize Audio In DaVinci Resolve

It happens a lot of times that we are not satisfied with several details our videos and audios contain, and we need to edit them. One of the most common problems we face is that our volumes are not normalized, and we need to take some extra time in order to achieve the best result for our audiences. Even with little or no knowledge about this very specific topic, we need to inform ourselves and find the solutions, make our videos more watch-able and our audios more listen-able, so to say.

There are several ways the audio normalization is achieved. One type is called peak normalization, helping adjust the recording based on the highest signal level present in the recording; the second is loudness normalization, adjusting the recording based on perceived loudness. RMS (Root-Mean-Square) changes the value of all the samples, where their average electrical volume overall is a specified level.

Mostly, there are two reasons why we should give audio normalization a try. You need to decide yourself, what is your reason and expected outcome when you use audio normalization. First is when your aim is to get the maximum volume, but the second boils down to matching different volumes with each other.

When it comes to normalizing audio, there are two reasons we refer to this tool. First is when we feel we need to get the maximum volume, and the second is when we need to match different volumes.

More concretely, in general, audio normalization is when a constant amount of gain is applied to the audio recording, bringing the amplitude to a desirable level, “the norm” for the project. It means that when this tool is applied to our volume, the whole recording has the same amount of gain across it, every piece affected the same way. Accordingly, when we normalize volume, the relative dynamics are not changed.

You can have the desired result using different kinds of software. Nowadays, a lot of programs offer you the tool which facilitates this process. So, one of them would be DaVinci Resolve, which we are going to discuss in this article.

What is DaVinci Resolve? The description goes: “DaVinci Resolve is the world’s only solution that combines editing, color correction, visual effects, motion graphics and audio post production all in one software tool!” so, let’s discover what this software can do to help us balance the audio!

So, how to balance your audio in DaVinci Resolve? We are going to discuss everything step by step – how to set your target loudness level, how to monitor the loudness, and how you can use the automation feature.

Well, of course, have the program installed and opened. Then, add your video with the audio you want to edit or the audio separately, if that’s what you are aiming to do.

The first step you need to make is to set your target loudness level – for this, find the little settings button on the right bottom of the program and click on it. Now, go down to the Fairlight menu and change the Target Loudness Level. If you are doing the audio normalization for the Youtube content, then it is recommended to set it to -14 LUFS.

Next, you are going to head to the Fairlight page and make sure that your meters are open. the loudness meter is on the right top of the layout of the program, and it goes from +9 to -15 LUFS.

Here, zero represents exactly what our target loudness level is, in this case, as you remember, we set it to -14 LUFS. So, ensure that our loudness is as close as zero as possible on the meter, but you can also make it lower, such as -3. Whenever you play, you will be able to see that there are some numbers popping up to the right of the meter.

The first one, you’ll find, is Short – constantly changing, indicating how far above or below the target loudness level you are at a given time. Short Max tells you how far above or below your target loudness level the loudest point of your video is. Range is a measure of your quietest pick to your loudest peak, and the last one is Integrated – it gives you the overall loudness of your video in relation to your target loudness level. Integrated is the number we aim to keep around -3 or 0.

We can use our main slider (next to the sequence on the right) to make our video louder or quieter until we hit that target loudness level.

Also, there is an automation tool that can help you dial in your loudness. In order to access this feature, find a red icon, looking like a wave with kind of a key frames.

Next, open up your Index (on the far top panel, a little bit from the left), and make sure you are in the tracks menu in your editing index.

What you want to do is to make your main track visible on the timeline, so hit on the eyeball next to your main and go to your timeline, where you will expand your main track until you see your Loudness History options.

Here, you will need to check in the box next to Integrated and turn on the Loudness History. This will show the integrated loudness level, adjust your main track’s volume accordingly, so you are below the zero line. And, that’s actually it!

How to normalize audio in Wondershare Filmora X?

Even though doing this with the help of DaVinci Resolve is really helpful, and, let’s say, sophisticated, you might find it a little complicated, in case you were not so familiar with video/audio editing. So, we would like you to have some information about what alternative you can turn to, and in this case, it’s worth bringing up a software - Wondershare Filmora X . With it, you will find that the same task can be carried out wonderfully. It is also a video editor, but it is one of the easiest to use in the word, supported by Mac and Windows. Filmora offers a great, neat, user-friendly interface, and helps you understand the very basics of editing. Actually, it has not been long since Wondershare Filmora X introduced the feature to normalize the audio. So, you might want download the latest version of Filmora X and start following along the steps we are going to provide for you to understand how audio normalization works on Filmora X .

Free Download For Win 7 or later(64-bit)

Free Download For macOS 10.14 or later

After having installed and opened a software, click and drag the video of which the audio you want to normalize. Now you can select the clip you have chosen – if there are multiple, select all of them, then right-click and choose Detach Audio.

Now, you can see on the graphic that the noises are of different levels from each other. This makes us understand why we need to balance our audio files whenever we are aiming for a good listening experience for our audiences.

Select these files, right-click and choose Adjust Audio. New panel will be opened on left top and there, you will see Audio Normalization – check the box there.

Now, after clicking on it, you can just wait and the normalization will be completed soon.

When it happens, you will be able to see on the graphics that the volumes are almost on the same level, moreover, listening to it, your ears will “understand” that there is no longer apparent difference between how they sound. So, let’s hope you are happy with the result – in this case, you can save the file you just normalized!

So, in this article, we learned one or two things about normalizing volumes and its types, why and how it is done, and how do it in DaVinci Resolve as well as in Wondershare Filmora X. we hope the guidelines will serve you in the best way and from now on, you will be able to create great sounds!

Free Download For macOS 10.14 or later

Select these files, right-click and choose Adjust Audio. New panel will be opened on left top and there, you will see Audio Normalization – check the box there.

Now, after clicking on it, you can just wait and the normalization will be completed soon.

Task Distribution Amongst Crew Members for Successful Shootings

When shooting a small-scale video, only one person handles all department workings. He or she works not only as a director, but also a cinematographer and the camera operator.

However, as the production grows and needs large-scale filming, more specific members are needed for different departments. Whether you want to set up a filming studio, or join a movie-making workshop, you’d better figure out the entire composition of the film crew and choose the best one according to your capabilities.

To simplify the scenario, we have divided the crew into these major departments, as shown below, with their work areas.

What Is the Role of a Producer?

The producer is the main handler of the filming. Before filming, he finds out the content and directions and links with the director and DP for each direction to get the best vision of the music video. The producer are responsible for:

1. Schedule the crew members

Producers can make the call sheets for the crew members to maintain their schedule according to the specific timelines.

2. Find the studio space

To find the studio space, the producers work with the directors to get the exact location according to the script of their music video for better illustrations.

3. Find the gear

Producers found the gear for the studio space and handled the renting of the equipment from the warehouse.

4. Build relationships with the industries

If the filming is starting and you don’t know who to choose, you should build a relationship with the appropriate people in the industry. So that when you are in trouble, you can call them off to get the solution.

Roles of a Director Department

The director is considered to be in charge of filmmaking. His main responsibility is creatively giving the idea to the production and communicating to the crew and characters to check out what they want in their scenes to play out.

The director department mainly consists of the director and the first assistant director, and sometimes there is a 2nd, a 3rd, and 4th AD. For example,

1st AD

The first lead is mainly in charge of time management, communicate with the crew member, and ensuring that the shorts get done safely and readily.

Note: If there is no dialogue in the shorts, then the director usually gives reference pictures of the scenes and moods to act in that way.

You need to work with different people in the industry to check their personalities and work according to them. There is no need to work with the same people repeatedly.

Team for Production Designing

The next and foremost department is the production design. In this the production designer is the leader of all and has to work with the art director. He is mainly in charge of the set builders, set dressers, prop makers, hair and makeup, and costume and wardrobe departments.

In this department, the production designer is mainly involved in decorating the sets, making props, and setting up the lighting.

Cinematographers Department

The cinematic department comes to the frontline to give the shots and the lit music video final touches. In this, the head of the department is also known as the director of photography.

Director of photography

He mainly decides how the shots and the music video footage look. The main action is to handle the lightning and interact with the lights with the environment and the characters. He should build relationships with each other for better illusions.

Director’s monitor

The director’s monitor is the screen that displays a live shoot and filming of everything happening on camera. It mainly gives each take’s exact position and views for coordinating with the director and the DP.

Due to this, they can change the direction and the setup wherever they want and whenever they want.

Camera operators

To operate the camera, the DPs are not involved, but there is a specific job of the camera operators, which handle the shots and moves according to the director’s directions. There are also 1st and 2nd Assistant Cameras (AC) with the camera operators.

1st Assistant Camera

The duty of the 1st AC is to focus on the required target, pulling, swapping the lenses from the camera. He is ensuring that the camera is all set and workable on the shoot day without any trouble.

2nd Assistant Camera

The 2nd AC has to consider the slates of the shots, place exact locations and markers for the characters, and give exposed footage to save for the backup.

Gaffers and key grip

Gaffers and key grip have their own teams for maintaining the lighting and grip work assigned by the DP according to the creative plans.

Digital media technician

It is essential to get the backup of footage of every shot. If you are working on a large scale, the backup planner is recognized as the Digital Media Technician (DMT).

DMT will handle the exposed footage, which Digital Memory Card will do with tapes denoting the card’s number. Make sure to make two backups of the footage to prevent any trouble.

Note: Making two copies for the backup will reduce the risk of corrupted files and physical accidents of losing the footage.

Additional Roles

If you are the music video director, you need a Cinematographer with Camera Operators. He will be in charge of pulling and adjusting all the camera alignments. If you have enough budget, go with the co-producer to help you direct the talents.

To make your subject looks good and modern according to the theme, you should hire hair and makeup artist. If you have more budget, you can do it professionally with more and more crew members.

Conclusion

If you are a starter, then there is no need to worry to pull-off all the roles in a crew; you just need two to three people for the start-up. That’s all about the large production, but whenever you scale up, you should know how to manage all the members with their required areas.

You need to work with different people in the industry to check their personalities and work according to them. There is no need to work with the same people repeatedly.

Team for Production Designing

In this department, the production designer is mainly involved in decorating the sets, making props, and setting up the lighting.

Cinematographers Department

The cinematic department comes to the frontline to give the shots and the lit music video final touches. In this, the head of the department is also known as the director of photography.