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6

I tend to go manual. When I'm editing VO, its just a matter of a fast breath cutting pass and then a separate pass of other editorial and mixing. For breath cutting, I'll make the waveform and the track very big so that I'm just looking at the softer stuff in the track (not worried about seeing peaks when breath editing) then i'll place my left hand on the ...


4

I usually have my Dial editors only do very basic level adjustments. Basically lower any really loud pfx or a line that is dramatically out of sorts with the rest of the scene. With noise reduction, I never want my editor to do any broadband NR or notch filtering. You can get into a lot of unnecessary processing that might not be needed once everything ...


4

It depends on the agreements made between the dialogue editor/supervisor and the sound supervisor. Mixers could prefer to not have volume automation, but this differs. Why do you ask? Are you editing dialogue? Or are you mixing the movie? Recommended reading: Dialogue-Editing-Motion-Pictures


3

A show usually has a leader reference tone and also has pops, known as sync pops or head pops (versus tail pops) or casually just called "2 pop". The reference tone is in regard to calibration level, the 2 pop is (secondarily for calibration) but primarily for ensuring sync - especially when we';re talking about ProTools sessions containing the ...


3

I took a look through Ableton and it is possible, though potentially more time-consuming depending upon how you have your session set up. If your edits are clean and each "ooh", "aah", etc. is its own separate region, bring all of the regions into the "session" view as clips. Make sure they are edited with proper start/end times using the start/stop ...


3

As everyone else has said, noise reduction is the way to go, pretty aggressive noise reduction is all that will help I think. Thing is, if you want this conversation for sound bites or anything, it's probably going to be unusable. You may be able to pull enough of the noise out so that the vocals become just audible, but they're likely to sound watery and ...


2

I realize this is an old thread, but iZotope RX3 does a great job of this if the music is in stereo. What you can do is use the Center Channel Extractor in RX3, and it will use phase cancellation to isolate the mono dialogue from the stereo music. I work in a trailer house where we frequently need to clean up bites from movies with bad stems.


2

Figured out a solution to this, can't believe it didn't hit me before: 1. Mix and edit the sounds with processing on individual channels, and master channel if necessary 2. Render the entire sequence, taking the output from the master channel. 3. Add this rendered file back into the set on a new audio channel. Right click this audio clip and choose 'Crop ...


2

There are plug-ins that handle this for you (DUY Magic Spectrum...though Zynaptiq's Unfilter can do a decent job of it as well). They, and nearly every other technique almost requires that good technique was used on both pieces of audio. The only sure fire way to come close is to figure out which one sounds worse (direct to reverberant ratio, noise, ...


2

find a decent S and paste it in anywhere you're in dire need of one. highpass a copy of the track (with a linear phase EQ if you have to) and automate its volume upwards expansion on the high band using a multiband compressor. make yourself some coffee ;)


2

I would try doing some upward expansion with a multiband compressor or active eq (Waves c4 or McDsp AE400). You could also duplicate your dialog track booth the hell out of the sibilant frequency and side chain a compressor that can do upward expansion (Waves Renaissance Compressor) on the original track. Every time your sibilance gets low that frequency ...


2

Several things a dialog editor can and should do with level automation... smooth out transitions between handles on different takes keep dialog levels roughly consistent between takes reduce loud momentary sounds gently reduce annoyingly loud constant background sounds around dialog, but not during it I don't discourage editors from using something like ...


2

When both persons speaking are visible I memorize the lines while the actors practice (having a script at hand might be helpful) and pan the mic between both. If the scene is split into shot/ reverse shot, I also try to get both but my priority lies on the person on-screen. Especialy when the boom operator isn't experienced, too much panning might overburden ...


2

Do you memorize the dialogue and aim the microphone back and forth between the two people when their lines come up? yes This allow you to anticipate one's sentences ending and be on place for beginning of next character's sentence. Notice that it's important that your microphone is aimed at the person speaking. Which means your microphone can be between ...


2

so you have the SPL compressing, then the CLA-2A compressing, and the SSL channel compressing.. hmmm.. why not disable the SPL compressor, then gate gently (-6 to -10dB) with lookahead in your DAW, and only then have your compression take place. of course, volume automation is the best, but when pressed for time, a cleaner workflow might get a few of these ...


2

How long of content are you working on? I usually just cut most breaths out during rough playback and fine tune any edits while clients are discussing other stuff. I would personally rather spend my time cleaning up the read at its source rather than tweaking gates/ expanders etc to guess whats happening. Every talent is different also, some have huge ...


2

To my ears, it does indeed sound as if there is too much build-up in the lower mids. I wouldn't say "muddy", but rather more boomy, boxy, or honky - those are three words I would use to describe it. Cutting these will clean it up for you, but as you said, this was definitely miked too close. Two more things to keep in mind for dlog editing: 1) You will ...


1

Personally, I don't ride the faders too much between single words. Only if 'longer' passages are quieter/louder I turn up/down the gain. Moving the faders within words should be avoided. Until now, I've never asked the boom operator to pull away the microphone as it colors the sound. Since I'm recording at 24 bit, I can leave quite some headroom for ...


1

Hopefully the boom operator knows what they are doing and are trying to capture the best sound and levels, letting the director know when there are noises that will spoil the shot, and coordinating on shooting locations and blocking challenges with respect to the sounds. Along with that, there should be a dialog between the location sound person/people/team ...


1

In this situation, two of your proposals are commonly used in conjunction : ride the levels appropriately have the boom operator pull the microphone at right moments.


1

I don't do a huge amount of theatrical mixing, but i have done a bunch of mixing for various media, so i'll try to help you out. -20 to -12 sounds good, that's what i usually aim for with my dialogue. Leq(A) of -27dB roughly equates to -24LKFS (on Dolby Media Meter), which is a common loudness standard for broadcast, so that's why that's recommended. ...


1

I would put all mid/side tracks into Pro Tools as stereo tracks, with mid on the "left" channel and side on the "right". That way all editing will be sure to apply to both the mid and side signals identically. Then you can put in a decoder plug-in or send them to a bus for "manual" decoding. Or you could break them out again after editing. Another approach ...


1

Scan through this search query for some possible answers. This question has been discussed in the old SSD forum many times over.


1

It's a pure sinus of about 1400 Hz (1.4 Khz), most DAW's will have a function to generate a few seconds of that. In Adobe Audition you would go to the menu Generate -> Tones. Then add some "dirt" to it using something like Izotope Vinyl (it's a free plugin). I guess that would be the basics of what you want. Maybe instead of adding dirt, subtracting some "...


1

The best thing you can do when engineering ADR performances & matching source is to use your ears, but it takes the time and effort of experience to develop them in to a tool. As far as how to use them, EQ - and capture it properly in the first place - use location notes for mics used and look at pics for where the boom op will have snuck in under the ...


1

Normaly it is a combination of EQ, De-essing and Reverb. It is normaly easier to Turn the higher quality One (close) into something worse. Adding mids and removing lows and highs will make it appear further away. By damping esses and Breath you Remove close mic-ing effects. After that you can try some reverb with focus on early reflections to make it more ...


1

Lots of videos and older films on Archive.org. I'm sure you could find a good variety on there.


1

Performance will get you a long ways towards your goal. They need to project, make sure their headphone feeds aren't too loud. Are they supposed to be getting interviewed? If not keep the mic farther away in more of a boom position. Make sure you don't have any room reflections. Some of it depends on how far you want to go - believable vs "radio" and ...


1

RX2 is your best bet. Treat the crackle and the noise separately. Decrackle the crackles first (you can use decrackle locally to the offending areas) and you're left with noise. I don't know what it is, but something (well, that something is that there's some sort of signal modulation going on) tells me it has to do with electronic interference (i.e. ...


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