Smooth Audio and Dialogue?!
- Thread starter ki8
- Start date
And you must have clean dialogue with as little background sounds as possible, and separate, continuous backround audio. Basically dialogue & effects sounds are mixed on top of this ambience track.
Make a 1 sec crossfade on all soundtrack edit points, makes the audio so much smoother.
Make a 1 sec crossfade on all soundtrack edit points, makes the audio so much smoother.
SMuir
Well-known member
If the problem is that different shots have wildly different background noises (and the noise can't be eliminated during production or filtered out in post), you may want to record two separate room tones.
For example: Shot A and B are both medium shots of two people facing one another in a conversation (ie. shot and reverse-shot). Let's say there's a lawnmower in the background of shot A, and that the lawnmower is well off-axis on the mic during shot B. Record separate room tones for shot A and B during production. During post-production add shot A's room tone to shot B, and vice versa (on separate RT tracks with the neccessary cross-fades, of course). You'll increase the overall noise floor, but this will eliminate the room tone disparity across cuts. A skillful re-recording mixer will mix it in such a way that the overall noise floor is minimized. Its a bit of a compromise, but its one way to deal with unevenly noisey production sound.
For example: Shot A and B are both medium shots of two people facing one another in a conversation (ie. shot and reverse-shot). Let's say there's a lawnmower in the background of shot A, and that the lawnmower is well off-axis on the mic during shot B. Record separate room tones for shot A and B during production. During post-production add shot A's room tone to shot B, and vice versa (on separate RT tracks with the neccessary cross-fades, of course). You'll increase the overall noise floor, but this will eliminate the room tone disparity across cuts. A skillful re-recording mixer will mix it in such a way that the overall noise floor is minimized. Its a bit of a compromise, but its one way to deal with unevenly noisey production sound.
Dave_Fisk
Well-known member
Petrus said:
1 second is a little too general. Sometimes that's way to much, or sometimes it's not enough. When I'm cross fading BG's from scene to scene, it's usually just 2 or 3 frames of a crossfade. If I'm trying to cover up crap in the production track, well that's a different story, and pretty much anything goes as long as it sounds good.
wabbit
Evil has Ears
Interesting enough Ki8, your question is pretty much the rudimentary quest that drives the whole sound dept. From beginning to end that is what we are trying to achieve and it cannot be accomplished in only part of the production process.
That being said, the above info is the best that can be offered in such a limited communication style as this forum. Read up on post production sound books to learn the finer steps of putting it all together. But if you did not get good, consistent sound on set you are more then likely screwed in post production. ADR will become a term you learn to dread.
Good luck
That being said, the above info is the best that can be offered in such a limited communication style as this forum. Read up on post production sound books to learn the finer steps of putting it all together. But if you did not get good, consistent sound on set you are more then likely screwed in post production. ADR will become a term you learn to dread.
Good luck