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9

As far as the kinds of "audio gymnastics" your client is talking about, they are definitely possible. They are something I do regularly. There's no easy way to learn it though, and few "rules" that will apply in all situations. [Previous mentions of cutting in the middle of words and on plosives or other hard consonants are useful examples. Cutting after the ...


7

I'm assuming you're asking about this, because you're trying to optimize your efforts. If the audio is that badly distorted, any side effects of the Izotope Declipper are going to be more tolerable/acceptable than the raws. I'd start with the problem pieces, because consistency of sound is more important in this situation. Jarring jumps in audio quality are ...


7

Very kind of you Brendan to link to the blog post, glad people are finding it useful! As Melissa has touched upon (and that book is a very good introduction to dialogue that I equally recommend), and as briefly mentioned in the blog post, editorial is the foundation here. No amount of Broadband noise suppression, even a Cedar DNS, can fix a dialogue track ...


6

The numbers you give seem to me to be when (post-prod) mixing. That's where I aim voice levels to be in a soundtrack. Talking purely about recording: I record dialogue as high as possible, obviously with safety. I aim to get the best wanted signal (voice) to noise (background) ratio. So the loudest moments will be just below 0. Depending on performance, ...


6

If you're on Nuendo, then there's a plugin for that: Grungelizer. It's really good! If not, you can download iZotope Vinyl, it's free. Never tried it but looks really nice.


6

My personal take on it is that usually for stems the channel denomination should equal your other stems, or at least be LCR or 5.0. In the case of working in a stereo environment, I'd recommend going with stereo. For one, dialogue does have to be panned sometimes - whether for creative purposes, or in rare cases to fix a story issue that's hard to see ...


6

There are two main elements to this answer- 1) Room- This is VERY important. I recorded an actor screaming (should've brought my earplugs!) in a wardrobe room. The room was small but not too small and the hanging clothes worked pretty well for difusion. We checked out a few different rooms and found this one to be the best. Not too dead and not too ...


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 ...


5

For reel breaks (assuming picture dept didn't do an improper break mid-scene and/or during a line), I do an Equal Gain 2-frame fade, one frame on either side of the LFOA, same as when I do hard cuts from scene to scene - 2 frame fades. I do the same at the top of the reel. I don't know all the details of this, but sometimes after the mix, the stage creates ...


5

This one is kind of hard to answer; it's one of those things that you can only judge in context. A related idea that you may want to consider is a notching EQ automation. I'll use that if I feel that volume automation is too heavy handed for the style and phrase of music in a given spot, or if I want to keep the music louder to give the piece more energy. ...


5

I would say that you're overlooking a vital aspect of compression...there's nothing requiring you to use make up gain. Compessors can be used very effectively to control sustained amplitude increases or transient peaks. Your argument about bringing up the noise floor is a little mistaken as well. If you need to bring up the volume of a passage (whether by ...


5

I'd say insanely difficult, if not impossible. You're going to have huge issues if the music is audible while the person is speaking. If that's the case, you're going to need something that can separate out elements of a complex signal. The only thing I can think of that might be able to pull that off is Melodyne...but I'm not sure even that will work. Is ...


5

I, too, have used TL Space as my go-to reverb for almost 6 years now (that is, unless I have the privilege of using an M6000 - those things are sweet). I absolutely put on verb if the character is outside. A lot of people I've worked with don't realize that one of the largest surface areas that creates reflection is the ground or floor in a room. In this ...


5

+1 on Mike's suggestion regarding lavs. If you're using stand mounted mics though, try placing the mic capsule above the mouth (cheek bone height) and slightly to the side. Obviously, still aimed at the mouth. The point is to get it out from in front of it. A quick fix for you in post... Create a duplicate track of the DX with your de-esser on it. Set it ...


4

It's an excellent question. For cutscenes, there's definitely a trend to use more perspective, I like to record both using perspective mics and a boom or lav mic to always have a close option. For in-game cinematics which are pre-rendered you're relying on the capabilities of the audio engine to use real-time DSP effects to create the sense of depth, such ...


4

Another issue in why a lot of games choose the close mic perspective is Localization. Localization is generally outsourced to different recording studios depending on language, and using multiple mic set up in the english version complicates and could serious compromise the quality of the localized versions. In this respect it is much safer to record the ...


4

we recorded the dialogue for brothers in arms 2 and 3, as well as borderlands, duke nukem and dragonball z budokai 3. In each of those cases we ran a 2 mic setup, but that was to handle main challenge of keeping the yelling and talking/whispering phrases in line with one another and working well. Its my experience that perspective recording would ...


4

This is probably a bit too late, but I absolutely LOVE Reaper's ReaFir for noise reduction.


4

You cant... So either you spend a lot of time trying your very best to make the phase perfect, to then realize that the mixer promptly chooses the best mic for the job and mutes the other (or uses it pretty low as a room mic). Phase issues sound VERY different in a near field monitoring than it will on a dub stage. So choose your sounds/mics wisely. Well, ...


4

Erik makes a very good point. More and more, mixers schedules don't permit to be choosing between sides. As an editor you should be confident in your tracks to just choose your best sounding side and go with it. However... There are situations that require boom and lav to make it even acceptable without looping. (Or typically getting it the best it can ...


4

There's all kinds of ways to tackle this problem and on top of that, there's a bunch of factors in terms of how the scene is being shot and what kind of car. Here's my 2 cents... -If you've got some a lav mics, plant them in the visors above each front seat or on the dashboard, if it's a two person scene. -If you have a boom operator with a shotgun mic and ...


4

My forté is not in dialog editing but I can shed some light based on working with and learning from some really talented people: Do you like 4 frames or 2 frames fade outs and ins on scenes? How long do you like your fades from character to character in a scene? Depends on the scene but I'd use 2 frames as the standard. That's how I prepare FX, BG and ...


4

While I agree with @Stavrosound, if you're talking tv it depends on what your deliverables sheet dictates. Different networks, even different departments in the same network, request different formats of stems as final deliverables. If you're using a single master template for all your work, I'd bus my dialog in stereo (or lcr) for panning, verb, delay, ...


4

You should be able to work some magic with those tools with a bit of patience. Apart from getting your hands on a CEDAR or ADR-ing it, you might get something half decent to work with. Heres what I did in 3 mins using RX: http://soundcloud.com/andrewjohnlewis/noisy-dialogue-2 Very rough, but with some finesse you could get somewhere there I'm sure.


4

Other than turning down the music, if you have access to the music stems, you can "remix" the music to accomodate the dialogue. Certain instruments often compete with dialogue (cymbals, guitars, or strings are common culprits). If you are working with premixed music or licensed tracks from an album it is obvious that the music was not mixed with the ...


4

This is a documentary. You can get away with noise in the production audio, and people will accept it. They key point is whether or not the audio is intelligible. Listening to that example you linked to, I would suggest you leave it alone. The noise floor, while present, is not interfering with my ability to pick out the phonemes. Give it some EQ to ...


4

In general, listen to whether it sounds good or whether it has something that irritates you. Or whether the sound is fitting or whether it's e.g. weak (in the modern days of dynamics squashing that can be a valid notion that you may want to adjust with compression. Just remember what the dialogue is for, i.e. it has to sound humanly like the person who's ...


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