• Red Vs Blue Youtube

Mono tracks can contain mono and stereo clips only. However, stereo clip left and right channels are summed to mono and attenuated 3dB to avoid clipping.There is no pan control for mono tracks with outputs assigned to a mono sequence master or mono submix track. Use the Pan knob to pan the mono track audio signal between left and right channels of a stereo sequence.Use the puck, to pan the mono track audio signal between L, C, R, Ls, Rs surround channels of a 5.1 sequence. The Center% control affects the balance between the center channel and the Left/Right channels. Its default setting in mono tracks is 100% so that all front channel output is Center channel only (no left or right). Since the puck is centered in the tray by default, signal is also sent to the rear Ls and Rs (left and right surround) channels.The LFE volume control employs bass management, meaning that a low pass filter is applied to all surround channels combined, then routed to the LFE channel this control affects.Use the Pan knob to pan the mono track audio signal between odd and even channels of a multichannel sequence with 2 or more channels. There is no pan control for mono tracks with outputs assigned to a multichannel sequence with only 1 channel.

Standard (stereo) tracks can contain mono and stereo clips only. However, mono clip signals are split into left and right channels and attenuated 3dB.There is no balance control for stereo tracks with outputs assigned to a mono sequence master or mono submix track. Use the Balance knob to set the balance between left and right channels of a stereo sequence.Use the puck in standard track to balance the stereo track audio signal between L, C, R, Ls, Rs surround channels of a 5.1 sequence. The Center% control adjusts the proportion of left and right channel signal between the summed center channel and discrete Left/Right channels.

Its default setting in stereo tracks is 0%, so that the Center channel gets no signal and all the clip's left channel signal is routed to L track output channel, the clip's right channel signal is routed to R track output channel. Since the puck is centered in the tray by default, clip left channel signal is also sent to the Ls track output channel, while clip right channel signal is also sent to the Rs track output channel. The LFE volume control employs bass management, meaning that a low pass filter is applied to all surround channels combined, then routed to the LFE channel this control affects.Use the Balance knob to balance the standard track audio signal between odd and even channels of a multichannel sequence with 2 or more channels. There is no balance control for stereo tracks with outputs assigned to a multichannel sequence with only 1 channel. 5.1 tracks can contain 5.1 clips only. There is no pan/balance puck and tray or bass management in 5.1 tracks.5.1 tracks are mixed down to mono in a mono sequence or mixed down to stereo in a stereo sequence.

Stream Red Vs. Blue Dubstep Action Montage by Kenny Elmore from desktop or your mobile device.

In 5.1 sequences, 5.1 tracks route its channels directly to corresponding output channels unaltered.That there are cases where 5.1 tracks are useful for mono or stereo clips. For example, when an audio post facility sends finished (or mixed down) 5.1 audio in the form of 6 mono clips, representing each of the 5.1 channels. These mono clips must not be placed in mono or stereo tracks in the 5.1 sequence because they have already been mixed at the audio post house. The proper workflow in this case is to change each mono clip to a 5.1 clip and designate its appropriate channel using Modify ClipAudio Channels. An alternative is to leave the clips as mono, place each into their own mono or adaptive track in a multichannel sequence, and use track output channel mapping and panning to assign the track output to the correct output channel.Premiere Pro 9.0 comes with track output channel assignments for 5.1 tracks, which allows more flexible and easy channel mapping. Adaptive tracks can contain mono, stereo, and adaptive clips only.

An adaptive track includes a balance control. Adaptive tracks have the same number of channels as its sequence. For example, in a stereo sequence, an adaptive track contains channels 1-2 available even when containing an adaptive clip with more than two channels.

If it is desirable to make channels 3 or greater audible, use Modify ClipAudio Channels to map any of the clip's channels to track channels 1-2. Only one source channel can be mapped to each destination channel. In other words, any one clip channel can be mapped to adaptive track output 1 and any one clip channel can be mapped to adaptive track output 2. So, instead of the default clip channels 1-2, clip channels 31-32 can instead be mapped to adaptive track outputs 1-2.Adaptive tracks no longer include track output channel mapping unless it is in a multichannel sequence. To work with audio, first import it into a project or record it directly to a track. You can import audio clips or video clips that contain audio.After the audio clips are in a project, you can add them to a sequence and edit them just like video clips. You can also view the waveforms of audio clips and trim them in the Source Monitor before adding the audio to a sequence.You can adjust volume and pan/balance settings of audio tracks directly in the Timeline or Effect Controls panels.

You can use the Audio Track Mixer to make mixing changes in real time. You can also add effects to audio clips in a sequence. If you are preparing a complex mix with many tracks, consider organizing them into submixes and nested sequences. You can add or delete tracks at any time. Once a track is created, you can’t change the number of channels it uses. A sequence always contains a master track that controls the combined output for all tracks in the sequence.

Red Vs Blue Youtube

The Tracks panel in the New Sequence dialog specifies the following: The master track’s format, the number of audio tracks in a sequence, and the number of channels in the audio tracksA sequence can contain two types of audio tracks. Regular audio tracks contain actual audio. Submix tracks output the combined signals of tracks or sends signals routed to it. Submix tracks are useful for managing mixes and effects.Each sequence is created with the designated number of audio tracks in a Timeline panel. However, Premiere Pro automatically creates new audio tracks when you drop an audio clip below the last audio track in a Timeline panel.

This feature is useful if the number of stacked audio clips exceeds the available tracks in a sequence. It is also useful when the number of channels in an audio clip doesn’t match the number of channels in the default audio tracks. You can also add tracks by right-clicking a track header and choosing Add Tracks, or by choosing Sequence Add Tracks. Clips can contain one audio channel (mono), two audio channels—left and right (stereo), or five audio surround channels with a low-frequency effects audio channel (5.1 surround). A sequence can accommodate any combination of clips. However, all the audio is mixed to the track format (mono, stereo, or 5.1 surround) of the master track.You can determine whether a stereo clip is placed on one or two tracks. Right-click a clip in the Project panel, and select Modify Audio Channels.

If you choose to place a stereo clip across two tracks, the Clip Panners use their default behavior (left to left, right to right).Premiere Pro lets you change the track format (the grouping of audio channels) in an audio clip. For example, you can apply audio effects differently to the individual channels in a stereo or 5.1 surround clip. You can change the track format in stereo or 5.1 surround clips.

In such cases, the audio is placed on separate mono tracks when the clips are added to a sequence. Mixing is blending and adjusting the audio tracks in a sequence. Sequence audio tracks can contain many audio clips, and the audio tracks of video clips.

Actions you perform when mixing audio can be applied at various levels within a sequence. For example, you can apply one audio level value to a clip and another value to the track that contains the clip. A track containing the audio for a nested sequence can contain volume changes and effects previously applied to the tracks in the source sequence. Values applied at all of these levels are combined for the final mix.You can modify an audio clip by applying an effect to the clip or to the track that contains the clip. Consider applying effects in a planned, systematic way to avoid redundant or conflicting settings on the same clip.Start with the Master meters and volume fader in the Audio Track Mixer. If the audio is too far below 0 dB or too high (the red clipping indicator appears), adjust the level of clips or tracks as needed.To temporarily silence a track, use the Mute Track button in the Audio Track Mixer or the Toggle Track Output icon in the Timeline panel. To temporarily silence all other tracks, use the Solo button in the Audio Track Mixer.When making audio adjustments of any kind, determine whether the change is applied to the entire track or to individual clips.

Audio tracks and clips are edited in different ways.Use the Show/Hide Tracks command in the Audio Track Mixer menu to display only the information you want to see and save screen space. If you aren’t using Effects and Sends, you can hide them by clicking the triangle at the left edge of the Audio Track Mixer. To help you view and edit the audio settings of any clip or track, Premiere Pro provides multiple views of the same audio data. You can view and edit volume or effect values for either tracks or clips in the Audio Track Mixer or in a Timeline panel.

Make sure that the track display is set to Show Track Keyframes or Show Track Volume.In addition, audio tracks in a Timeline panel contain waveforms, which are visual representations of a clip’s audio over time. The height of the waveform shows the amplitude (loudness or quietness) of the audio—the larger the waveform, the louder the audio. Viewing the waveforms in an audio track is helpful for locating specific audio in a clip.To view a waveform, use the mouse wheel or double-click on the empty area of the track header.

Blue first appeared, it hit the internet right in its sweet spot. Even more impressive was that in 2003, said sweet spot didn't even exist. Years before YouTube, the series of animated shorts— created by combining Halo multiplayer footage with overdubbed dialogue—helped cement online video as a worthwhile format.RvB.was a ridiculous lark that embraced its own existential silliness, its protagonists locked in a contextless struggle with a bunch of identical looking people distinguished only by their armor color.

It was Theatre of the Absurd by way of a LAN party, and long before gaming-based video content was a Thing, the series became a fixture of game culture, so beloved that the voice cast played minor roles in the real Halo 3. More Machinima.But fourteen years is a long time. When Rooster Teeth, the company founded by Red vs Blue's creators, announced that the show's fifteenth season was premiering this month, my first reaction was they're still making that?

I wanted to know how a show like that fit in today's online-video landscape, so I visited the company. And in the process, I found exactly what's most interesting about RvB in 2017: it doesn't.

Machinima RisingThese days, Red vs. Blue is filmed in a small, immaculate room in Rooster Teeth's headquarters, a nondescript office in a strip mall on the north side of Austin, TX.

Sixteen white Xbox Ones constitute an episode's director and cast: One of the consoles sets up shots, hosts a multiplayer match, and captures a recording, while the other 15 connected to it to provide the necessary Halo soldiers. A small group of full-time animators and technicians go over the scripts for each episode, blocking them out in digital space the way you would a stage play, and then they run through it. Animators armed with gamepads take on the roles of each character, timing everything to the pre-recorded dialogue. Like all video production, it's a matter of repetition and perfectionism. They do it, then they do it again, and again until it feels right, swearing when the takes don't go precisely as planned.In 2003, though, things weren't quite so structured.

Burnie Burns and Matt Hullum, Rooster Teeth's co-founders, had become friends at the University of Texas, and were working together on early blogs, writing about videogames and whatever else interested them. 'I was really into video, so I was trying to record myself playing and post those videos on the site,' says Burns, now Rooster Teeth's chief creative officer. 'Realizing that I controlled these characters, that they were essentially digital puppets, was a revelation.'

He came up with the idea to use those digital puppets to create a primitive, but appealingly inexpensive, animation. The first episode of Red vs. Blue, 'Why Are We Here?' , wasn't much more than a demonstration that this was an achievable idea. 'I recorded everybody's lines, then I went away for a weekend, and I came back with the first episode,' he says.The result, a conversation between two soldiers guarding a base, felt like.Waiting For Godot.with pulse rifles.

'Are we the product of some cosmic coincidence,' asks one of the soldiers, 'or is there really a God watching everything? You know, with a plan for us and stuff. I don’t know, man, but it keeps me up at night.' Burns' idea, his friends realized, worked. He wasn't the only person who had had the idea, though. The mixture of animation and in-game tinkering, called machinima ('machine cinema'), first arose in the 1990s. Fans uploaded 'demos,' in-game recordings of successful tricks or speedruns, on forums dedicated to shooter games like Doom and Quake.

In 1996 a Quake clan called the Rangers released ',' a demo overlaid with imaginary text dialogue among the characters; it's widely considered the first example of the form.By 2003, machinima had become an incubator for turning games into film narratives—or simply just film. Some told stories, but most were just exploratory.

The creators of machinima films looked at game worlds as spaces to be toyed around with, bent and broken, and when the told stories they did so rooted in that playfulness. Warthog Jump, another seminal machinima film created by an individual named Randall Glass, was a self-described physics experiment, twisting Halo's engine to send objects hurtling across the map, to the strains of Sugar Ray, Pink Floyd, and Frank Sinatra. Like those others,. Red vs. Blue. was interested in toying with the peculiarities of games; however, its primary focus was on telling a funny story. The early episodes were minimalist by both necessity and design, giving Burns a place to deploy his comedy writing within the limited constraints of Halo's game engine, which allowed players to run, shoot, jump, and crouch, but not much else.

'We were writing a show that only had six verbs,' Burns said.Those parameters made the core elements—absurd characters, dialogue-driven comedy, and a general sense of silliness—all the more essential. Even the most iconic visual element of the show, the awkward nodding of the characters, was a happy accident. It was a glitch in the way Halo's engine worked; by looking down at a certain angle, you could force a character's model to lower their weapon without their head lowering, giving the impression of them lowering their guard. Move that perspective in just the right way, and you can get their head to bob, offering a basic impression of a person talking.When Red vs. Blue's popularity took off, it brought machinima into the online mainstream. For a few years, scripted humor content created in and around game engines was an essential part of the gaming community landscape.

When YouTube launched in 2005, it immediately became a gathering place for RvB imitators and riffers. There was, a pseudo-sitcom starring Halo action figures;.was a playthrough of Half-Life narrated by a comedic and incredibly manic voiceover meant to represent the inner monologue of the game's famously silent protagonist Gordon Freeman. The phenomenon even spread out into sequential art with webcomics like, which featured staged.Half-Life 2.screenshots as panels. One of the first major multi-channel YouTube networks was even called, and it existed initially to collect much of this work under one creative and monetization umbrella. Rooster Teeth Gaming's Howard SternOver time, though, the world of online gaming video began to embrace the fast and loose nature of streaming video—and expand away from scripted content.

As game-capture technology and video editing software became more affordable, people began streaming their own playthroughs of videogames, and the Let's Play format was born.Rooster Teeth continued to produce episodes of Red vs. Blue, but the company began branching out into non-scripted forms. RvB co-creator Geoff Ramsey, inspired by his obsession with in-game achievements, founded a YouTube channel called Achievement Hunter. The channel began by posting guides to unlocking certain obscure achievements—then evolved to documenting Easter Eggs in games, highlight reels of funny gameplay clips, and ultimately into longform Let's Plays. 'When we transitioned into Let's Plays, I realized these were our bad radio shows,' Ramsey says.

'These were the Howard Stern Show, the Opie and Anthony Show. The gameplay was the visual component, but the conversation and the comedy around that was the core element.' Now, in 2017, that combination of off-the-cuff commentary and game footage has become the standard Let's Play format, and the videos in the genre garner millions of viewers and even more millions of dollars, across multiple sites like YouTube and Twitch. Achievement Hunter wasn't the origin point of the form, exactly—Let's Plays seemed to emerge in many places at once—but it became a baseline for much of the genre.

It's become the dominant form of online gaming video. Maybe online video in general. Even YouTube's Machinima channel, which used to be a destination for the form, is now a haven for Let's Plays, parody videos, and podcasts. Yet, through it all,. Red vs. Blue.has quietly kept going. The show is now surrounded (and, to an extent, underwritten) by a vast Rooster Teeth media empire, which includes more traditional animation as well as the Achievement Hunter network, board games, videogame development, and a yearly convention.

This is what's interesting about the series, and Rooster Teeth in general: its ongoing existence straddles a line between, on the one hand, being an ongoing work of fan-servicing serialized storytelling, and on the other being a small subset of a massive old guard media company, one of the largest ongoing brands in field that has grown exponentially. Blue prefigured and helped build the media landscape in which it now exists—and yet it exists now as a living relic, beloved by its fans even as everyone else has moved on to other forms.For its creators, that's not something to grieve. It's just the way of things. 'If you're making scripted content on the internet, you have to accept that you're never going to be number one,' Burns says. 'There's always going to be some guy who drives a Lamborghini into the ocean, or a cat that fell off a tree branch.' Or a guy in the other room, shouting at Minecraft while millions watch along.