Sound for Video Session: Clean Noisy Dialogue Sound with Adobe Audition
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- Опубліковано 8 вер 2024
- If you're interested in learning how to record and post process dialogue sound for video, please look at my courses available at school.learnlig...
In this week's Sound for Video Session we run through several techniques you can use to reduce noise in very noisy dialogue sound recordings for film. We use a clip recorded on a busy urban street where we could not get as close to the interviewees as we would have liked.
Gear used to produce the short film and this episode:
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Audio Technica AT4053b Hypercardioid Microphone
Amazon: amzn.to/2kN72uf
B&H: bhpho.to/2kgkSSz
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Rycote Cyclone Wind Protection
Amazon: amzn.to/2liiISr
B&H: bhpho.to/2klJdZD
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Sound Devices 633 Audio Mixer/Recorder
DVeStore: www.dvestore.co...
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Electrovoice RE20 Dynamic Microphone (Voiceover for this session was recorded with this)
Amazon: amzn.to/1Y2oPrh
B&H: bhpho.to/2kcdMSW
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Antelope Orion Studio Audio Interface (Voiceover for this session was recorded with this)
B&H: bhpho.to/2ji4NeP
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Copyright 2017 by Curtis Judd
Ethics statement: Some of the links above are Amazon.com, B&H Photo, or other affiliate links.
You are refreshingly honest about errors you might have done recording. It’s how life is. We learn every day
Every day, indeed!
Very nice work around job . Very informative & educational . Thank you Curtis Judd.
👍
It's better to remove a very low frequencies before noise reduction. Not after. In this case a signal what we send to noise reduction plugin will contain less noise and noise reduction process will be more accuracy.
Thanks for the insight!
just wanted to take a moment to tell you how much I appreciate all your videos. As someone who is trying to learn all the various aspects of production, your library of videos are so incredibly valuable. You have the calm, demeanor of a purposeful teacher. I also commend your choice of words and sensitivity when working with talent that lives on the street. I have a soft spot for our friends without houses and appreciate it when someone takes the time to treat them as human beings and tries to make them as comfortable as possible. Curtis, is there a place you have listed all the various films you've worked on? I would be really interested in watching this piece in its entirety. (and others as well). Thanks for taking the time to share your insight and craft with the world. -Dan
Thanks Daniel. I've only worked on a hand full of short films and commercial pieces. The bulk of what I do today is the educational videos for Webflow (which you can find here on UA-cam). Here is the link to the short film we talked about here: ua-cam.com/video/f6XtGVSibA8/v-deo.html
Here's another: ua-cam.com/video/opxt5erMTnU/v-deo.html
Hi Curtis. Thanks for yoour great unhysteric and calm Videos. A relief compared to many others. The question I have is not related to this Video, but since it is the most actual one I drop it here.
I am looking for a preamp solution for my two Samsung NX1. I will soot a Documentary film with 2 cameras in Asia.
The Tascam 70d is a battery eater. I need a reliable preamp, good sound quality, easy to handle, with low energy consumption. Any recommandation? Thanks!
Hi Mata, I assume you mean a preamp which sends the audio to camera rather than recording the audio separate from camera? If so, here are three options I have tested: ua-cam.com/video/B_0od_f_QkQ/v-deo.html Good luck!
Very clearly explained, keep up the good work!
Thank you!
Good Job... Thanks for that quick response...
Thanks Marcy!
Hey Curtis, This might be an example where a parabolic dish mic might be useful and allow you to stand off. Can you make the original wave file available? It would be interesting see how other people's would approach to removing the street noise.
Yes, a dish could be an interesting approach here. To be honest, a big part of the problem was that I didn't call time out for the rest of the crew when the direction changed and we ended up recording most everything outdoors. There was supposed to be an indoor segment up front which is why I had the hyper mounted in the shock mount. I should have called time out and switched to the shotgun which also would have helped quite a lot. Sure, I can post one of the clips on my site.
I wouldn't even worry about the comments about the trough in the music keep doing what you do people are always going to make negative comments... I once heard "don't feed the trolls!" Love your stuff. I have been putting your techiques to practice. If you have a chance tell me what you think about my sound. using a H5 and a Rode Vid pro on a boom pole. saving for a Ntg3.
Thanks! Is this Brian? I had a listen to a couple of your recent pieces and you're doing some good work. Keep it up!
Yep It's Brian, should have clarified. BTW found you from the Basic Filmmaker. The episode that he discusses reaching out to you is when I got my moving blankets to hang in the recording area. REALLY helped those reflections, I record in a unfinished basement with concrete floor and walls. While they don't do as good a job as special blankets, they really help!Thanks again for sharing your knowledge!
👍 Keep up the good work!
Why use the Audio Technica over a boom mic in this situation? It seems like it would better cancel out some of the traffic noise.
Thanks for all the fantastic videos - incredibly instructive and interesting, as usual!
Good question Brian. There was a bit of uncertainty going into this and initially the plan was to shoot some talking head of the interviewer indoors before heading out. So I first mounted the AT on the shock mount. Then things moved so quickly that I didn't have an opportunity to switch over to the shotgun mic. But I think you're spot on, a shotgun would have helped a bit here.
Hey Curtis,
just a small tipp:
When capturing the noise print you can select a frequency range in the spectral view. Because in your example you have a lot of low frequency noise, it would make sense to just select the lower frequencies. Then the noise reduction will not touch the higher frequencies and the voice of your talent won´t sound so robotic.
Jason Levine demonstrates this in his video at around 12 minutes:
ua-cam.com/video/rbWGm8yfY08/v-deo.html
Btw, the whole video is worth a watch and full of valuable information regarding noise reduction.
Hope this helps and thanks for sharing your knowledge!!!
Julian, thank you so much! I just watched a few minutes and see what you're talking about. This is very helpful! I've added this to my watch later queue so that I can soak it all in.
This is really fascinating. As I watched this, what is probably a really stupid idea came to mind. What would happen if you had a separate mic simultaneously recording only the noise. Could you reverse the phase and use that to moderate the noise in the dialogue track. I am very new to this stuff so there are probably a dozen reasons why that wouldn't work.
Very useful piece as always. Thanks.
John H. Maw Lol... Ur very new... a separate track for noise only... good idea... but wrong situation.
I'm not at all surprised that I got that wrong, but could you explain why it is wrong. I would like to get a better understanding of this sort of thing.
Hi John, I would characterize it as more complicated than wrong. You're definitely thinking through how audio works. I think the challenge would be to capture just the noise in a separate channel. For the phase cancellation to work, it has to be the same noise at the same time as the dialogue but somehow captured without getting any of the dialogue and that's extraordinarily difficult to do in a real-world situation such as an urban street. I hope that makes sense and thanks for the question.
Hi Curtis. Thanks again for sharing. Massive work recording this one! BTW I don't remember if you have any workflow video about exporting from Zoom F8 recorder files to edit inside Audition and back to FCP X. If answer is yes, could you put the links below. Thanks so much again.
ignacio
Hi Ignacio, We did discuss workflow a while back at a high level. We didn't cover the mechanics so much as discuss the question of when does it make sense to process/master the audio before the edit and when does it make more sense to process after the edit: ua-cam.com/video/KpzKBUwnHLo/v-deo.html
I hope your recording projects are going well!
Thanks so much Curtis for the link but this bring me to a new point that I'm interested in since a couple of months. The question is if is there any cheap plugin for Audition were to make some short of symmetry with waves as iOzotope RX does.
Yes, there is actually a plugin in Audition which can even up asymmetric waveforms. We cover it in my post processing course and we also talked about it a little bit in this previous Sound for Video Session: ua-cam.com/video/6iF7-_L4fgs/v-deo.html
I hope that helps!
love this Curtis - I love the healing brush. I used to work on a lot of voice overs and often found myself taking out the 'clicky' mouth noises.. fantastically transparent. what are your thoughts on Izotope Rx? (actual life saver!)
Hey Craig, thanks. I love RX and use it all the time! In fact, I do most of my work in RX Audio Editor and use Audition far less than I used to.
Interesting what was your mic's wind protection?
I used the Rycote Cyclone (the newer gray version): bhpho.to/2mqxqIJ It managed the wind noise flawlessly (there was a breeze the night we did the shoot).
Thanks
+Curtis Judd
How can I become a master at Adobe Audition?
You can start with my "dialogue post processing with Audition" course over at school.learnlightandsound.com. Then lots and lots of practice. :)
cant tell you how you sound in this video. But thanks for sharing
Sorry, not sure I understand your feedback? The session audio sounds bad? Or the sound from the film we are mixing?
Sounds aside hope that homeless guy is doing well tho, this very emotional
Me too.
Curtis, I've noticed in this series of tutorials you are using a split stereo music bed (2 mono tracks). Any particular reason? In most cases and at this particular stage of post, music bed clips are pre-mastered. There's really no reason to work with discrete channels on separate tracks. The whole idea of bussing their outputs in order to apply identical aspects of processing adds unnecessary complexity to the mix. My recommendation would be to build your mixes with both mono (dialog) and stereo (music, EFX, etc.) clips. This way if the pre-mastered stereo "music" requires global processing, you simply apply it to the stereo track (or clip) thus alleviating the necessity for complex bussing. If you are worried about pre-mastered loudness levels and the discrepancies between stereo and mono clips, the proper Pan Mode Preference setting will maintain pre-mastered loudness. The only viable reason to continue to work with discrete music tracks is if you intend to apply *independent aspects* of processing to each clip/track. For basic 2-channel music this is rarely the case. [-paul.].
Hi Paul, good to hear from you and thanks for the question. This was simply a matter of how the OMF delivered the audio. You are absolutely correct that I have no intention of applying any sort of effect to the music track since it is already mastered. Perhaps I should pull in the original stereo track of the music file as I have that as a single wav file as part of the package. Or perhaps there is a way to convert two mono tracks to a stereo track in multitrack mode in Audition. I'll check into that. Thanks again, as always!
I wonder if a handheld mic would have been the way to go, or the interviewer wear a Lav mic that could pick up both men talking.
For a documentary style piece, that can be tough. I think my next step will be to work more with the camera operator ahead of time to understand how close I can get the mic. That was a big part of the issue here - we didn't have time for me to ask whether my boom mic was in the frame so I was very conservative and backed of more than I should have. Instead I could ask for a minute before the shoot started about which lenses he was using and do a couple of tests to get used to the working distance I could use with the mic. This was really one of those learn by experience situations.