How to put music under a long interview only where it helps
Tell Vizard Agent the cut is locked and only the audio changes, then ask for music where the story earns it and silence where it does not. It scores from the transcript it already has, keeps the music far under the voice, and leaves the picture stream untouched so nothing else can shift.
What do you type into Vizard Agent?
Lock the picture in the first sentence, then describe where music belongs in terms of the content rather than the clock. A brief that asks for background music over an hour of speech gets answered as a bed. If Vizard Agent cut the piece, telling it to reuse the transcript keeps it from analysing an hour of footage again for nothing.
The 66-minute cut is approved: audio only, do not rebuild the edit or re-analyse the picture. Reuse the existing transcript. Add restrained cinematic music where the account reaches tension or reflection, across the whole runtime, with real silence in between. Keep it far under the voice and duck it whenever he speaks.
What does Vizard Agent actually do?
It reads the transcript for where the story turns rather than laying music on a schedule. That is why the transcript matters more than the footage here: the cue points are in what is said, and the picture has nothing to tell Vizard Agent about them. In the session behind this article it:
- Reused the finished timeline and the existing transcript instead of reprocessing the source.
- Placed cues at developing tension, at the high-stakes passages and at the reflective ones, with gaps where the words should stand alone.
- Held the music at roughly 15–20% of the perceived dialogue level and ducked it automatically under speech.
- Faded every cue in and out, so none starts or stops abruptly.
- Muxed the new mix against the existing picture, which was never re-encoded.
- Built two review files: an overview plotting the unchanged dialogue against the music on the same scale, and a listening reel of each cue's entrance, middle and fade-out back to back.
When does this not work well?
When the piece is testimony rather than storytelling. Music under a first-hand account can read as the edit telling you how to feel, which is a choice to make deliberately. "Restrained" as the only instruction also goes wrong: the first pass put a handful of cues across an hour, and the fix was to score wherever the story supported it without running continuously. A voice level that already wanders makes the music feel uneven too.
Common questions
Will the picture be re-rendered? No. Vizard Agent muxes the new audio against the existing video stream.
How many cues in an hour? As many as the story supports. Tell Vizard Agent "across the runtime".
Do I have to watch the whole thing to check it? No. Vizard Agent's listening reel holds each cue's entrance, middle and fade.