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 ...


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

It sounds like a project where no one thought about the end result (sound wise). I wouldn't touch a thing and 'step away from the vehicle'. Next time, take care to record externally. Greetings, Captain Hindsight


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 ...


4

you need to hand the director an estimate on how much it will cost to ADR the whole film. also hand him an estimate on how much it would have cost to rent a couple lavs and an H4N.


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


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

Your simplest option may just be to find the same words spoken by the same individual in an earlier part of the interview and splice them in. It will sound much closer to the correct speech than an artificially generated sample. This issue is the main reason why you don't cut until well after the end of the interview or scene.


3

Me too. I'm sorry to tell you that this is probably lost. And also I think it's a waist of time (sorry again). There is no tool or way to make something good from bad. If you start filtering, repairing spectrum, you don't make it good, you only make it a little less bad. It needs do be proper recorded or replaced. Recording in cars: If the engine is on and ...


3

Well, isn't this a case of mainly matching the convention? If it's established, then it's effective, even if it has no rational reason. When you think of it, another way to convey past would be some sounds or music that are recognized as belonging to a certain time period (that's in the past. It can be even the film's past, i.e. the reference is made to an ...


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

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

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

In short, this is a very hard one to answer because even between all our peers, the answer to this is all broadly subjective (taste and nuance) within a narrowly defined objective (calibration and QC specs). I'd love to elaborate on this a little later, so I will be appending to this, but in a nutshell this is my thought/gut reaction, being a dialogue ...


2

That's an extremely hard question to answer, and would result in an answer thick as the bible. But the quintessence of it all is to keep it even, fluent, and remove everything that isn't needed for the scene or feeling, and replace sounds that sound bad or just wrong. Also to never ever use more processing than you actually need. The dialogue editing is more ...


2

Greg is right about the necessity of filling with crap from the production tracks and Foley. That's probably the #1 requirement for getting ADR to seem real. Varying the gain and EQ as the on screen actor moves about will help. Imagine what it would sound like if the actor were facing toward or away from a boom mic above the camera position, or something. ...


2

Although many good answers have been given already, I would like to point you in the direction of this book. It's not exactly written to teach 'what a voice' should sound like, but goes in depth to teach about dialogue editing and workflow. Furthermore: Directing, recording and editing a voice is an art and I think one should have an obvious talent for it. ...


2

Have you already worked with the usual suspects? convolving or vocoding some of the voice with some rock debris? I have these heavy cast iron dutch ovens that when you turn the lid sounds like an ancient stone door, a layer like that may help. I would probably do some dirt and debris drops when there is a break in the speaking. Please post when finished! ...


2

There is a small sample from the Purcell book available that covers PFX and guide tracks. It is available form the Focal site: http://www.focalpress.com/uploadedFiles/Books/Book_Media/Film_and_Video/Dialogue%20Editing.pdf


2

Here's an idea - if you've got some rock movement noises to mix in with the vocal, you can use an envelope follower on the voice to control the volume of the extra sounds you want to add in. This idea could also be expanded so rock sounds to adapt with the voice; chop the vocal into vowels and consonants, lay them on different tracks and have the envelope of ...


2

Oh man, bad move on the sound recordists part and even worse move from the producer to use those sections! Obviously not your fault at all so I'd say explain the situation to the director/producer and let them decide what they want to do


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

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 ...


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