Figure 11.14 Connecting an audio clip to the Primary Storyline creates a gap clip above it.
3. The next step is to add the close shots of the ball hitting the floor so that they match the hits of the Boun-
cing Ball audio clip in the Timeline. Select Scene 14 Slate 38 Take 1 in the Event Browser, and press I to
mark an In point at the position of the first ball hit. You can visually see this by the tall spike on the audio
waveform at 17 frames. Position the playhead at 1 minute, 15 seconds, and 15 frames in the Timeline, and
press D to overwrite the clip to the Primary Storyline. If you play back this section, you'll notice that the
first ball bounce is in sync with the Bouncing Ball clip and the second bounce is also fairly close, but the
rest of the bounces are way off (see Figure 11.15). This is fine because we plan to show only the first two
ball bounces in close-up, and we can use other angles from our footage for the rest of the bounces.
Figure 11.15 Lining up two audio tracks in the Timeline.
Select the Out point of Scene 14 Slate 38 Take 1, and drag it to the left so that the clip ends at 1 minute, 19
seconds, and 13 frames in the Timeline. If you play back this section, you'll notice that the third ball bounce
is still visible at the end of the clip. Because we plan to intercut the ball bounces with shots of Katie's reac-