How Dialog Should Sound! (Basic Film Audio Design)
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- čas přidán 13. 12. 2019
- A Sound Pro shares best practices for equalizing audio in your film.
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Guest expert Mark Edward Lewis from cinemasound.com shows some easy ways to take advantage of the free DaVinci Resolve software, using one of the most powerful EQ tools around.
After nearly 30 years of writing and producing musical scores, re-recording mixing, developing sound design, editing, writing and directing, Mark has a unique perspective on how to create high production value for independent productions.
What makes Mark an invaluable resource is his mastery of all aspects of audio production. One of the new breed of directors who approaches storytelling from an “audio first” perspective, Mark’s projects have a flow, pacing and emotional impact that few directors possess. Always strongly adhering to the axiom, “Post production begins in pre-production” Mark has righted many adrift productions with his organization, creativity, ingenuity, and cross-discipline experience.
Mark has worked professionally in nearly every area of production and post production including event development, most recently as a post-production supervisor on the Avenger’s S.T.A.T.I.O.N. with Frank Serafine. In 2016, he was the main presenter for the “Sound Advice” tour in North America and Australia where he taught over 1,200 filmmakers about improving their production value with better sound.
#filmsound #equalizer #audiotutorial
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So I've been doing some reorganizing today, so probably gonna end up doing that tonight!
Sound design is fascinating and this is a topic that I always enjoy watching. So yes more of this type of guest would be great.
The proper name for what he was doing is dialogue re-recording mixing. You'll only see "Re-Recording mixer" in the credits, but there are usually two or three people mixing a film, usually specializing in dialogue, effects or music. Any edited shows you see on TV or watch in a theater, dialogue editors edit the production sound, often the ADR too. Using the right terminology will save you time and shield you from mistakes later down the road.
@@AironExTv This is totally predictable. What do you expect from editors trying to do our job themselves.
@@AironExTv Yep, in film sound design refers usually to all added content (sfx, ambiances, footsteps whatever), dialogue editor does mostly fades and repair (removing noise, clicks, distorsion etc etc) but doesn't touch the EQ (basically only cleaning but no transforming the voice) and then the mixer shapes everything together.
@@yanns559 The less money the less heads are available for all the hats :) . Btw, in dialogue editing I've changed the frequency content fairly often, but that's usually to fix stuff. I used to paint out quite a lot in Protools, but these days I'm often using RX more for that. Though I have to say, painting out distortion still has no equal in RX.
That is the exact type of pro audio editing on a film tutorials that we can't find on youtube. More of this please. Same for color grading (the kind that exists on youtube, does NOT mirror how hollywood colorists work -- for example, they only talk about colors, not about texture).
I second this so much 🙏
@bonzology Would you mind expanding on why this video is supposedly wrong? As it stands now, your comment doesn't add much value to our conversation. I'm curious.
@@DaudrichDima Go scroll up on the top CZcams comments and you'll probably see why.
Sorry to bother you, but that is NOT, what a pro's do.
I love how there's absolutely no fluff in this tutorial. Straight to the point, and Mark makes it all really easy to understand. Thanks guys!
This guy is cutting frequencies with a -10/-15db boost and a bit wide Q factor and says the change is subtle "subtle"
lol
A year late but, for real.
I'm surprised.
First: yes, the human voice very much does make sounds below 100 Hertz. I don't know where you got that from, it's demonstrably false.
Second: why don't you just group this bus to another track to gain an extra instance of the equalizer?
Third: Yes you can very much remove the fundamental frequency, because we're ought to make the voice sound better by any means should we choose so. And since we talk constant ringing, you want to avoid all of those for clarity.
Fourth: Do not keep the EQ bands active once you found a frequency you found jarring when you try to find the next. Because chances are that you are getting a false positive that way as you alter the source material for harmonics. You are changing the phase alignment and make different frequencies pop out more if you cut others. Once you have all the constants that you think are a problem, keep the frequency but start at 0db and pull them down a little until you figure out which of the ones are more jarring than others. Also don't be afraid to boost certaian frequencies which cause another phase shift that can actually counter ringing frequencies due to a wider spectrum that is heard.
Fifth: EQ is only one instance. (Multiband) Compression, de-essing, noise reduction are just as important for a clean, smooth and transparent audio track.
Sixth: Alter the audio in an actual DAW, because it has far more power and flexibility and you're not limited like any video editing software is. Then import the tracks back into the project :)
Seventh (from Edit): Check audio track alignment. Even with the marker, and even with auto-align software, there is a chance you are off by more than one frame. This sometimes causes the image to be "blurry" as we subconsciously try to lip-sync the audio in our brain and when it's slightly off, we feel that. Others feel it more actively with more acute senses. Whenever the audio is too separated from the video track I feel like the video is "blurry" when the audio track doesn't line up perfectly. Sound travels really slow, so even a few meters of distance to the speaker can already have an offset of a frame or two, and not all capturing devices are made equal in terms of latency.
Geez, we got someone picky today
@@MorrixYoda I prefer thorough :)
Khunvyel noted! Most especially on the muting the other bands while hunting for other frequencies. Golden tip of the day for me! Thanks!
@@DaveJLamar You're very welcome :) The entire topic made me think again about the slow travel of sound and how cinemas deal with it. Now I know why I prefer to watch movies in smaller cinema halls... when you're about 10 meters from the sound source, let's say, sitting in the centre, you already introduce a sound offset by about one frame. I suppose this desync is making me feel the movie doesn't quite... well... "line up".
I appreciate that someone else is thorough like this. Too many CZcams videos out there that either only provide a sliver of information and run it as a fix all or simply provide incorrect information when it comes to the complicated aspects of getting a great image and audio track on screen. Some people are ok with moderate work, and its way easier to produce and there is really nothing inherently wrong with it, its just not as good as it could be. But some people really like getting into the grit with HOW and WHY things work the way they do in order to create spectacular results which requires a certain degree of passion and research/study.
I like how you make it clear how long you’ve been doing this which doesn’t stop you from being flawed
FYI boosting a frequency by 10-20db in not "a little" as dude says, that's an EXTREME boost which will likely cause other problems: artifacts, phasing issues .. it's like gaining up a shot 20 stops after filming ... it breaks shit. In the audio world you can typically get results by cutting 1db in the right places and MAYBE boost by 1-3db in certain spots. Filter out the rumble frequencies below 90hz on dialogue and boom.
That's very helpful sir thank you
I have a better advice. Never try to do the job of experienced audio professionals. It will ruin your project totally. Believe me.
Cutting between 3 and 6db is pretty standard id say (narrow filter), then usually you boost with a wider filter and then yes 1 to 3db, but everyone has its way.
Love the value you are bringing to the editing world by inviting others to share their skills. Great use of the platform.
Would you want me to invite more guest experts share pro-tips on editing and post production?
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It's not going to require a lot of your time and effort: I'm a big believer in doing small things that have a big impact on learning.
But what is the exact challenge?
Since we are focusing on audio, I'm asking you to edit a simple scene. It's actually an "eggercise" I made my students do (back when I was teaching editing at an L.A. film college) and it created always the most interesting results.
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Download some music tracks and sound effects, feel free to cancel the account once you are done (you still get 2 month full access)
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Tell a story that is 60 seconds or less.
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Happy holidays & happy editing :)
Sven
This isn't exactly a beginner friendly video.
Got some amazing information here! It would be very beneficial to do kind of workup videos, where you give basic concepts, then the guest speakers go a little more in depth. I felt like a lot of this was going over my head as I haven't really worked with audio before.
I loved this one. I love the more advanced Videos. But I understand that most of the Viewers are beginners. 😭
this is absolute gold. I am always looking for the best way to edit audio for film and this has been the best yet explained video for it. Thanks
Great Video, Thank you so much for shedding light onto this topic for me!
Sound is so huge in film. Always underestimated.
By who?
Ted It is a complex craft and art.
@@AironExTv Yes it is. But I don't think it is by any means underestimated.
@Ted, I agree. It's definitely not underestimated, however it is under prioritized in both production budget and in the pre-production stages. A-Class directors understand its importance in their blockbusters. Lower budget productions must cut corners and unfortunately it's the sound that often suffers as a result. Therefore, I'd say sound can be underestimated, typically relative to directors experience and budget.
@@fishoscine1220 That was basically my point.
This is so interesting and useful... I can't even express my gratitude properly
Awesome Episode! Thank you Sven!
Great vid! Priceless for a sound editor!
Thank you for this video. Helped me so much, I'm constantly struggling with how to properly EQ stuff.
This was an amazing lesson, thx!!!
Yes, more pro-tips ♥️
Funny enough, I thought that the way Mark processed his own voice for this video was a bit overboard haha. Mids are scooped like crazy, and it sounds like he's heavily boosted his highs and depending too much on his de-esser/compressor to keep it controlled. This might keep his vocal consistent and purposeful for this video in particular, but a little harsh sounding overall I felt. Great video though.
Definitely agree with this, I was thinking the same thing. Could use a little warmth
WORD!! 💯
It actually sounded great to my ears
Any knowledge you can drop?? Please do, cuz im really trying to learn better mixing techniques when adding vocals and sound effects to my videos.
@@VGGamess Honestly when EQuing a vocal just decide on a nice level of boominess or body when high-passing. Depending on the voice I usually high pass anywhere from 150hz to 220hz or higher but there's no rules. This will cut out a lot of the mud frequencies we can't really hear anyways. Given the characteristics of most mics if you set a mid frequency dip at around 500hz - 1khz with a nice wide Q you can usually get a pretty "pleasing" sound (adjust accordingly). And then don't sleep on a de-esser if your talking with lots of sibilance. Adjust and listen accordingly because over crushing a vocal with a de-esser can result in a lisp effect. Lastly you don't always have to but I usually low-pass at around 16.5 - 17khz. I work with lav mic's a lot so sometimes there are weird artifacts and prickly sounding things up at the highest frequencies that we don't really need to hear. Overall to a simplify a vocal that is too bassy and a vocal that has too much treble, those are the things you want to avoid. It's just about a balance.
How do you download and use the presets any tutorials on that im really interested also wen u use the presets anyway to adjust to your own liking ?
🤯🤯🤯🤯🤯thanks so much for this!!!
Superb, thank you.
Made a lot of sense. Thanks.
I Love to Edit..Sacrficed my daily old job for it..bcus i want to do what i love in life.Learning alone only by watching youtube videos..no other options open fr me..u teach the core main asoect of editing and i try to learn as much as i can..Thank u so much.Love from India❤️
Atlast I've gotta a company 🙌
Same here 💯
BILAL AHMED hard way will lead to a greater destination...👍🏻👍🏻👍🏻
@@RivuSouravBanerjeeVideoEditor Yeh.. Its too hard to do what u love to do and what u shud do for the living. Spending nights on youtube learning about editing making my own notes or points on my mind and trying those to implement in al ways that I know. Rowing both the boats at the same time is a difficult task but I shud do that for myself for my future.
Anyway meeting the first indian since my youtube journey with the same interest. 🤝🤝👍👍
Oh man thank you so much!!!
Good video. Thank you.
Just when i need it! tnx 8)
Absolutely love davinci reslove for sound design
Thank you alot for this video
yes please to more guest experts share pro-tips on editing and post production (but still with Sven's own take and thoughts too)
I was looking into Alex Audio Butler extension , what is your opinion. Is it worth it?
15dbs is not a little bit 😂😂🤣. But it’s a pretty decent tutorial. At the end of the day, what matters is the sound you get out of it, so whatever sounds good!
I'm a producer and a editor. i found this useful. thank you.
This was the first time I've watched an audio tutorial and walked away feeling like I can do this.....Gracias
Mark Webber is one of my favorite actors. I love 13 Sins.
And great actor. I loved him in Weapons
I don't understand what we are looking for in sound. I can't recognise this "ooo" sound. To me, everything kinda sounds the same. Can you explain it a little more? Thank you.
Does anyone know how to record dialogue specifically so you can also record foley in post?
Good illustration
When you see two back to back frequencies using two markers instead of one expanded you start questioning so much lol
Does anyone know where to get the hat that he’s wearing at 10:26?
I see Stephen Still, The talent and press click.
fairlight is pretty cool i like the stock vocal chain for spoken word but 3rd party vst support would be a good addition. the eq is pretty nifty though
Please do more videos on sound design
Make a playlist on sound design it will be useful for many amateur filmmakers
Wow, clear as mud. I hardly have any idea what's being done.
Awesome. I kind of hate sound design as I only partly get it. I’m the visual Director/DOP guy... unless I one man it!
Then I need to figure it all out!!!
Hence watching this!
Thanks
😀🕺🏻🎥🏖🇦🇺🎄
I remember first learning everyone always said only lower maybe -5 d maximum...maybe that was just for music..or audio that already sounds great, ill have to try this one.
One of the best EQ's in the world... lol
he lost me when he said that..... I was like what?
I did this in première. Thank youu
The sound on that clip still sounds awful even after the corrections....
There's so much harsh room echo in the unprocessed recording. Ain't no way to fix that in post. This is a good example of why you should get it right from the source and not rely on post processing.
I would imagine that audio got scrapped.
Exactly
😂😂
Beca use it is not correct way to eq a voice. Is a mistake and the guy Knowles it. No Share his true Knowles
Omg I am stuck with this time to make things change
this is great! now an episode on sound recording for dialogue? ☺️
Hey
That's Stephen Stills.
He's the talent.
This Guy Edits, it looks like his page is CinemaSound.com not CinematicSound.com
My question is me speaking as an absolute newbie. I've been reviewing a few tutorials on Davinci Fairlight basics, and I find there are so many approaches in the EQ. In your video @8:45 the final EQ looks like the letter W with 4 V-shaped troughs where everything is below the line. I've seen another tutorial where the person takes the same approach as you except with 2 small V-shaped troughs with everything below the line. Also, at the both extreme ends the lines are flat. What I don't understand is that there are other tutorials where the final EQ looks like the letter M -- where the extreme high and low frequencies are made low below the line, and then there are usually 2 peaks that go above the line. As a newbie, seeing all these different approaches, I'm confused how come there are so many different approaches and I'm struggling to know which advice to follow. Do you have any guidance on how a newbie can sort through the so many different approaches?
Never do this. Always send the raw cut (AAF) to the experienced audio post-production team instead.
Thanks
How did he draw on his Mac screen (that arrow)?
How much of this functionality is in FCPX? Or should one clean up the Actors Dialogue in another Product as - eventually - I’ll be ramping up to 12 actors in a couple scenes where each has lines...
Really thorough breakdown but man, I couldn't follow any of it! Thanks for your time though!
Good nice
I use this technique all the time. I didn't know you weren't supposed to attenuate the fundamental though. Interesting.
The last part music background is similar to OneWheel ads which I really like it
there are a lot of really weird things about this EQ strategy. firstly, 15dB is A LOT. i’d only use that much if there’s an audible background noise in the recording. second, don’t use tiny bands to specifically eq out harmonics. the pitch of voices change, so use a small dip. i don’t know if he’s doing this intentionally, but the reason why it’s a good idea to EQ in that part of the frequency spectrum is to reduce proximity effect from the recording so it sounds like the person isn’t standing incredibly close to you. and, it should one small, wide dip, maybe 1-3db. you should MOST CERTAINLY eq sibilance! we evolved to be most sensitive to that frequency of sound (see equal loudness contour graph). the only part of this tutorial that i’d 100% get behind is the sweeping frequencies strategy. In The Mix has a good video on editing vocals for music, pretty much the same should apply to this.
this is a difficult thing to learn because it requires you to listen to audio in a new way, so don’t feel bad if you can’t get it immediately. our brains are wired to adjust our hearing based on the context we are in, so it’s difficult to know what to look for. while you’re eq’ing, try to compare your voice part to another recording of speech you know you like. the juxtaposition should help emphasize where problem areas are.
If you click on where it says Band 1 and Band 6 you can enable those bands to add additional EQ flexibility (Dropping lows and highs and then scooping the boxiness, nasal tones and sibilance). Hope that helps someone struggling with the 4-Band!
So good! Im in a biiig situation right now where I have to deal with a feature film editing once I have to mix dialogs recorded with different mics and frequencies. Im kinda of strugglin to balance it all togeter. Im using the SSL Wave plugin to king match it but I'm not sure its the right way. Anyways. Nice tutorial, man. I'll try to use some of these methods to try to get it done. Thanks
Igor Doval what issues are you having, exactly?
I second Chris in this. Let's hear about your problems. I'm a dialogue re-recording mixer most of the day.
@@ChrisGeden mostly to match the frewuency in general. Match the lows and highs. Im still trying to get use to manipulate audio. And as long as the project is toooo big im kind of terrifies it not to be balanced perfectly
@@AironExTv do you know a tutorial or setup to match clips for movie editing using Davinci Resolve? Im not the audio guy u kno. Im kinda of macgyver guy who knows just a bit of eferything. But now with this movie ill have to be more like the audio guy as well, cuz the whole edit is in my hand. The audio must be equalized in a way thats the frequence differences is not noticeable.
Igor Doval Is the film getting no attention from sound editors and mixers at all ? In that case it may be better for to use the clip EQ and only use the track EQ for overall changes. The technicalities of mixing dialog involves the use of not just EQs but also compressors, deessers, denoisers(if available), reverbs and distortion. Concentrate on a smooth flow between clips, matching backgrounds or at least crossfading between them. A good google search would be for dialogue editing for motion pictures. A good book by John Purcell deals with exactly that. You may be saddened to know however that mixing is mostly experience. So get started reading that manual of Resolve and looking for books, video tutorials and basics of mixing. The cinemasound channel looks to be a decent start but keep looking. I rarely look for tutorials of the basics any longer, so I have no specific links for you. Is this a student film ?
Really bothering me that there's only 4 bands here. Not sure if DaVinci resolve allows VST plugins, but if so, Cockos makes a really good EQ that comes with Reaper. The lack of a low pass and high pass is really bothering me. High passing and low passing would really help cut down on room noise from the microphones.
Honestly, I don't get it. For the most part, I don't hear single frequency bands poking out of the spektrum while sweeping. I just hear a massive resonance filter.
Also, why would you want to take out the bands that are characteristic for the voice in question? The more you apply this concept to a voice, the more you reduce its sound to a whisper, i.e. you are left with the sibilants in the end. And those get squished in the de-essing stage later, so what have you gained other than reducing the overall volume??
Also also, if you put this EQ on your voice bus and send _all_ dialogue through it, you process _every_ voice with the settings that are characteristic to *_one_* individual voice.
And then, of course, you ommited de-essing, compression etc. etc. But okay, this was not meant to be comprehensive - but in my experience, those are far more important than basic EQing.
No, just no, jesus. There are different acoustics in the room which make certain frequencies more resonant, mics have different frequency response so EQ is crucial. But this dudes advice is just straight bs talk, his "subtle" eq moves are just radicilous, he is mixng sound in a video editing software and not a daw, cmon dude, these guys dont even know what r they talking bout
I had to use close-captions to finally understand what David Craig and Rooney Mara were saying while lying on the bed near the end of David Fincher's "Dragon Tattoo" movie. Sometimes it's just a matter of upping the volume, or having someone who doesn't know the script being there in the final mix.
i couldn't hear these sounds he was talking about. I am wearing headphones.
The Man, The Myth, The Legend, Mark Webber, F1 driver and director
Can't you just export the audio and import into a daw then you can use similar plugins that can give you inifinite bands to work with. And there are so many other functions you can use to fix this sound.
Great video and clearly explained the basics of a preliminary sound grade. Learned more in this vid than others on the subject, especially the nuances of the Q dial and frequencies of the voice. Will be applying to my next projects.
Where can I download clips for editing practice?
Try @editstock They have free clips you can download and work with.
We need to 60 seconds scene with priority on storytelling and sound design. That's understood.
But do we need to use EGGS as actors? Is it mandate?
Nope not a mandate. But it would be nice to see some EGGtion.
I think "basic" should probably not be in the video title, but i'm sure this will be very helpful to me some day. Right now? So lost 😅
Wouldn't using a spectrogram be easier? Also, how do you work when several people talk in a scene?
Sweeping the filter like that is an interesting approach. I don't really do any of this stuff but this was very interesting, thanks!
The audience don't look at the sound, they listen to it. Developing a critical ear is paramount. You wouldn't colour grade picture by only using a histogram. Yes, they are tools that can help pinpoint peaks in frequency, but that doesn't necessarily man they are offending frequencies. Fundamentals and their natural harmonics are crucial in maintaining the tone and timbre of a sound or image.
@@fishoscine1220 A spectrograph definitely can help aid you, but you're right in making decisions based on your ear is important. Once you've determined the problem areas by ear, there's a lot a spectrograph can help you understand, faster. It definitely has it's uses.
Can you use VST audio effects in DaVinci Resolve?
Yes.
@@AironExTv yesssss. TDR Nova here we go.
Wow! This must take hours and hours to do a whole 2 hr movie.
Yup
Main Stay The editing actually takes the longest. For movies it‘ll usually be a couple of weeks.
Well, completely agree with all what Khunvyel said and that just the basic of mixing dialogue. Sorry to say that but working on a proper daw will be much more convenient, no any pro will do post with Davinci! I mean I'm not gonna edit a movie on Nuendo right? Also doing some eq sweeping like he's doing will always end up with tones of resonating frequencies and luckily that he doesn't have a 31 bands because he'll end up with a flat and inconsistent sound. The dialogue he's working on will to me need first some restauration, cleaning etc. with RX more than eq at first, then I'll rather use dynamic eq rather than parametric eq and that will be just a small part of the work to get a, as you put in the title of the video "How dialogue should sound". And to finish, the dialogue includes room ambiance so, hard eq on it with also affect all other sounds, room tone and other sounds that are happening during the scene. Sorry, I don't want to be mean but the content of that video is completely wrong. And about the 100Hertz, last day I recorded a VO and the talent's voice was going down to 57Hrtz, yes very low voice but just to say...
Thank you Mark. That was an interesting introduction that was fairly easy to follow. At first I was worried, and it could have been a little longer. The most important advice was not included, you learn to EQ voices by doing it. That and starting with the method you introduced. I've been mixing dialogue for over 20 years, and I'm usually struggling to show people the benefits of good mixing and experienced craftspeople working on their sound. I'll send some folks this way when I run in to them.
As for things people might want to learn about as well, there are quite a few that would have lengthened the video too much. Automation, i.e. applying certain processor settings across an area of a track, using various automation modes and methods of recording that automation. Recordable keyframes in video terms :). Fairlight is decent at this, though it needs to improve its manual quite a bit, right along with its customization options such as keyboard shortcuts. Reaper is a much better model here since Protools has no customization of controls.
Again, thanks for introducing people to these concepts. I applaud anyone bringing better sound to video and film makers. I just need to remind everyone here, including the experienced film editors, that if you're handing off sound post production to sound craftspeople, they will need the raw files, not processed files :).
Thanks for a video on a subject I'm quite interested in understanding better. While I've been editing audio for a long time, I still want to really understand and learn more.
At 6:00 you are sweeping your peaking filter up to the first frequency you want to attenuation. At that point (6:00) you say that's it but you do not articulate in a way that I can exactly understand what it is you heard that told you that was the correct frequency. Without that clarity about what it is you are hearing i can not translate what you are teaching into something I can replicate.
Can you expand on what you hear in a more precise way? I doubt that an written answer here in the comments will help that much. I'd really like to see another video where you focus on what you are hearing qualitatively and quantitatively?
Just my two cents but it's something I've thought a lot about and haven't really seen it mentioned; I've personally found I'm not a big fan of the 'narrow boost search and destroy' technique because of this. You quickly lose perspective with such a narrow boost. If you do a sharp cut at *any* frequency, listen to it for a few seconds, then bypass the filter, your brain will notice that frequency range and it'll seem a lot more egregious; you've lost perspective and can't make as good of decisions. This is a lesson I remember from a demonstration my professor did in my physics of sound class that's stuck with me. Certain frequencies ranges are going to sound pleasant or ugly anyways, and if you're boosting and searching, you'll have the tendencies to want to boost the pleasants and cut the uglies as you're going through them all, and again, it's easy to lose perspective. You never want to lose perspective, and you should feel confident with every decision you make when mixing.
How I personally deal with this, and Mark sort of alludes to this idea in his 'dialogue basic grade' video on his own channel, is only search for the frequencies that I'm already hearing as being problematic, and have a basic mental image of how dialogue, in its most general concept, should sound (as in not a literal reference track of audio, but a mental image of the dialogue that you train and improve over the course of your career). Mark, in his other video, says that experience mixers can do the 'search and destroy dialogue basic grade' technique really fast because they already know which frequencies they want to cut just by listening to the audio. To me, that should be the technique regardless, and the other benefit of already knowing what you want to cut is that you keep perspective and have confidence, which to me is super important, and helps prevent you from making things sound worse.
We need more tutorials like this 👏🏼👏🏼 I would love to see one on mixing with music and EQing music
@Cinema Sound Just went to your channel. There is one subscriber and zero content. That's a shame, because I was looking forward to a channel devoted entirely to getting cinema quality sound.
The first scene is so weird. It's like he's traveling in a different car heading in a different direction as the girl. Maybe because he's traveling to screen left and she's traveling to screen right? Or maybe cause they're so far off the side of the screen. Anyone else notice this?
nah i didn't get that feeling, i can see if the pillars on his side was traveling in the opposite direction, then yea
What's the film title?
sound is everythink i think
Is it one of the criteria for the contest that the eggs have to have faces on them or can we just have plain old eggs?
if you can tell a story without faces, go for it.
@@ThisGuyEdits Cool that's good to know 😄
I think that audio was a bad example because it sounded almost identical with the finished product because of the room's reverb. Still sounded kinda crappy in the mids. I would love to have seen him edit a clip with a background noise or a 60 cycle into silence
@@cinema_sound5003 Not bad not bad based on the looks
Couldn't I just rip the audio, throw it into samplitude/sequoia, edit it, and sync it back up?
Looks like it would be so much easier if there's a spectrograph display
I don't know why Mark Edward starts off by saying that Fairlight is one of the best and then goes on saying that it's really limited. He did a similar video for The Film Look channel where he worked with Audition and used A LOT of frequencies, because you can stack Parametric Equalizers in Adobe software -> Even directly in Premiere, because it's the same plugin.
czcams.com/video/nzaEPHByCIk/video.html
Another limitation is the Q Factor that doesn't let you go too narrow, so you can't really pick one very problematic frequency and tone it down -15dB, therefore you have to go wider and only tone down -9dB because otherwise you would be affecting neighboring good frequencies that you want to keep.
But all in all, you work with what you have, because this sort of work on audio is definitely needed. And as he said, you don't need 30 years of experience, just a little bit of practice.
Your attenuating cuts should be way smaller than this. Also, often you want to cut out that sibilance you mention that sits above 5k. For dialogue, you usually want to put a High Pass Filter on too to eliminate low frequency noise not made my the actors voice.
"reduce it a liiiiittle bit" *makes a 10dB cut :D:D
There are much better equalizers. Free: Ardour. Cheap but good: REAPER. But then, you're exporting and reimporting. Fairlight does have the advantage of being built-in.
4:28 - This is very, very misleading. Plenty of male voices have fundamental frequencies below 100hz. (They may not have been properly captured on set, or with a sub-optimal mic) In this instance where you're trying to balance the DX with SFX, walla, ambience, music etc. - the best practice is to roll off the lowest frequencies. IMHO this is a good idea, but when you're dealing with just DX in an environment with no other sounds, sometimes leaving in the very low frequencies will create a sense of warmth and intimacy. Just my 2 cents 🙂
It sounds like she's talking through a tube at the beginning.
She is! A CZcams.
what about band 1 and band 6, can't bro just enable them??????
Though the guy in the middle made some good points, his own audio had huge sibilance problems...
Another detail to get right is that the iPhone would turn it’s screen off when you’re on a call and hold it up to your ear, not leave a super bright white screen on.
Movie is from 2014 dude.
@@@NostalgiNorden : Display controlling sensors have been there since circa 2010
When he cuts to the audio expert and his voice sound ultra compressed 🤨🤨🤨
How funny. I just watched hacksaw ridge with redhead in it