Various reverbs in aux tracks

[Gohanto]

My current understanding is that most films use a few auxes for reverbs (one for dialog, one for fx, ect...) But I was curious if/how different reverbs got used within single auxes?

For example, would it be at all common to have Altiverb and IR1 as inserts, then use automation to alternate which one you want to use? Or is it more common just to pick a good overall single reverb and just automate the parameters and level between scenes?

 

[SMuir]

I usually put a post-fader send on each track, which feeds into an aux that has a 100% wet reverb. This lets me individually automate the send level for each track to fine-tune their perspective. On most projects I'll have a reverb aux for each stem (dialogue, effects, music), which in turn outputs to the appropriate stem's aux. The stem aux's in turn output to the master mix.

I almost always change out the reverb impulse when the picture cuts to a new location. Some IR reverbs will allow you to swap out impulses on the fly; TL Space, for example, allows you to preset a number of profiles, then you simply automate their selection to switch seamlessly between reverbs.

 

[Noiz2]

On the big film mixes that I have seen they don't have a lot of reverbs, usually a Lexicon and if it's an old place maybe a big plate reverb. Since traditionally films are mixed in pieces you don't need a reverb constantly on, you patch it in for the little bit your printing and can use it for something else, pos even in the same place on another stem. In PT world you can work pretty much the same with presets and/ or snapshot automation letting one reverb do a lot of different jobs. But in a DAW it's not cost prohibitive to have multiple reverbs, IF you have the DSP to handle it.

 

[Gohanto]

TL Space, for example, allows you to preset a number of profiles, then you simply automate their selection to switch seamlessly between reverbs.

Knew about the profiles, but I'd missed that you could automate between those. That is just awesome. :2vrolijk_08:

I'm assuming as well that you're general dialog aux reverb is different than what you've got on your ADR tracks to blend them with production, correct?

And just as a general question, how often do you find yourself adding reverb to location, production dialog? (Granted the choice is always a scene by scene decision, but was just curious)

 

[SMuir]

I'm assuming as well that you're general dialog aux reverb is different than what you've got on your ADR tracks to blend them with production, correct?

If the ADR was recorded with perspective, then I may just lay it in as-is. Sadly, I haven't heard perspective ADR in years, so I often have an additional mono reverb instance for when ADR (or out/wild takes) needs more room to fit in. Just to keep everything consistent, I'll send some of that mono reverb into the dialogue stereo (or surround) reverb bus.

That mono reverb instance almost always uses a different impulse than the one on the dialogue reverb bus, owing to their divergent purposes. If you're feeling particularly clever, you can whip up a selection of mono IRs that mimic boomed dialogue in a variety of carpetted and hardwood-floored rooms.