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The industry standard right now is 24bit, 48kHz. The frame rate doesn't influence those settings. Depending on the type of work you are doing (dialog editing, foley editing, sound effects editing or design), your sample rate may vary anywhere from 48k all the way up to 192k. But 99% of the sessions that are ultimately destined for a professional dub stage ...
6
To quote Thomas Edison "I have not failed. I've just found 10000 ways that won't work."
It's always a horrible feeling when you look back at something at realize it wasn't as good as you'd hoped. Look at this as an opportunity to discover some things about yourself. Maybe you don't want to work under those sort of conditions in future projects, so that will ...
5
Ah, the dreaded re-conform. There'a a variety ways to do this, on a variety of budget levels and time turn around situations. Software packages out there like Virtual Katy and Conformalizer work by comparing EDLs or working with Change Notes. While they can work very well as I've heard, I wouldn't be too surprised if you still have to massage all the ...
5
Most film is art, not life/reality. Sound designers have to match the visual art on screen with the sonic art of their mix, and that usually includes a certain amount of "realer than real", suspending some of what we "know" about physics in order to tell the story in a way that translates to this 2-dimensional, 2-sense media.
Case in point, when we see some ...
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 ...
3
Exactly what Gary said - you don't need to ADR, what international M&Es are looking for are the effects and music, which includes foley. They do not need or use the dialogue track (someone please correct me if I'm mistaken).
So yes, you will have to record fand/orcut in foley effects for PFX that are embedded into the dialogue tracks. The international ...
3
Doing a series of commercial ads for survivor , they by this im referring to the agency ( agency team of blue haired , bad dressed , cell phone glued freaks ) wanted the following within their ads
Ad 1 : Sound of piranhas eating meat of a man's left leg.
Ad 2 : Sounds of a a python slowly crushing a human arm
Ad 3 : A squawk of a parrot that has just been ...
3
Since I started out as an ADR mixer and dialogue editor and did this for quite a while, I have a few guidelines I make sure are known if I have someone cutting for me, and these are:
Never consolidate an edit. I like all edits to be on the track and easily fixable if there is something I hear that is not quite right (I have an ear for the slightest over-...
3
NOTE: this response was to the original iteration of the question.
To be perfectly honest, this question rubs me the wrong way - a first actually.
What rubs me the wrong way, and this is merely an observation of principal and NOT a judgement of personality/character... is that I sense a lack of gratitude, a lack of appreciation for what has been had and ...
3
Izotope RX is probably what you'd want. You can start with basic if your on a budget and then upgrade to advanced later.
It has plugin components as well as a standalone version.
It and Cedar are pretty much the standards at this point.
Multiband compression/expansion or something like the Waves WNS or W43 can help for a constant noise.
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'm afraid what you are asking for could be the equivalent of taking a Victoria sponge cake & asking for the flour, sugar, butter & eggs back in separate bowls.
If there are clear spaces between each person speaking, you have a chance; any audio editor such as Audacity [freeware] can be used to [manually] split the audio at each gap, then move each ...
2
Well as far as I know, Gary Rydstrom is the one who has won the most number of Oscars for achievement in Sound. But still if you wan to know more about others too, you can look up here. Hope that helps!
2
I haven't used it yet, but I've been dieing to try DUY's Magic Spectrum. I've heard great things about it. Might be worth a look.
If you can't do that, I've found that EQ'ing in individual bands of frequencies at a time can make the job of matching dialog MUCH easier. Use high and low pass filters to make a band pass on the original and the re-record, then ...
2
I've done a lot of work in animation. As a rough guide I would say that a 12 minute episode (assuming a common delivery of 52x12 min episodes) that you would need 3 days tracklay and 1/2 day to mix. That's also presuming a fairly involved tracklay with little foley and most sounds from libraries.
Make sure that you budget time to create all the delivery ...
2
Having a session in a higher bit rate will allow a larger dynamic range, allowing you to get away with more gain staging with less chance of clipping in your channel. Higher samples rates in your session allow you to time stretch your sounds while retaining more high end frequencies (as the ones that are in audible then roll down into the audible range). You ...
2
I've recently had to do the very same thing for a kids show I work on. The most time efficient way to do this is load the laughs into a sampler, and 'play' them to picture. My sampler of choice for this is Structure. I map out my laughs in intensity from small to large across the keys leaving the black keys for any special laughs or reactions. I've been ...
2
I would also highly recommend checking out the new extended interview with Mike Wabro on the Pro Tools Expert blog. Download the podcast. Some great insight into conforming and re-conforming in it. Speaks highly of new Ediload software too. Definitely worth taking the time out to listen!
2
I agree with all answers above, made similar experiences editing Audio Books (Hörbücher) here in Germany .
Most studios look for freelance editors that are reliable and deliver their work with consistent quality in the scheduled time. Deadlines are very important because the publishers will only choose studios that can fulfill their schedules. Voice actors ...
2
Hard work, talent and a good attitude ...
Your reputation well precede you. If you are good people will find out.
2
This is an ordinary function of any audio editor -- it's what editing is. I don't know of a specific tool within your program to do this, or what specific challenges you see. But unless there are odd or unusual circumstances, it's a simple matter for an experienced operator to join two segments.
In a program like Audacity (free), you might place the two ...
2
I'll bring them all in and sync them first, then do a broad chop of all of the unusable stuff. This is so that I can cover those tracks with crossfades, which I can't do in RX. Once I have my basic edits completed I'll do an RX pass, then reimport to protools for mixdowns.
2
My advice would be to always import everything into PT, make your choice which 'blend' of mics suit each other over the edits.
Then audiosuite/RX anything needed, but keep the original in place, muted, or on an inactive track.
My personal experience is to go as easy on the denoiser as possible, and use volume and eq to fix up things.
Happy mixing :-)
...
2
1st of all, if the voice coming from the speaker has some characteristics picked up by the fact that's miced and going through amps & speaker, maybe you could EQ those so they can pop a bit and create a contrast between the other sounds/people talking w/e..
If the "right next to the camera" talkings obscure the speech, sadly there's little you can do. ...
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