Thanks for the feedback about Absentia DX Thomas. Another way of using the Air Tone Generator is by selecting the dialogue sentences (very tight) one by one. That keeps the rest of the original fill and also produces different results in ATG, depending on the context. You might also want to try different handle values, which might change the result as well.
Yes, handle size matters. I've also had good luck by being choosy about what I feed it. ABDX struggles with breaths, movement (especially cloth), and other things that trick the algorithm. But I know this will continue to evolve as technology does. I'm glad I was one of the early adopters of your plugin, it makes my job a lot easier!
As someone just starting out in the industry and still learning (unfortunately without an real life mentor) your videos and live streams are so so valuable. I am doing both location sound and post-production. I also found that room tone is not very useful in post. When I read watch content about location sound it seems like people still promote the idea that post needs room tone for every shot. Is that maybe just outdated advice that doesn't die? Are there other "myths" that still exist in the location sound world? Maybe you could make a video/ stream about what you would like to see from location sound. For example: Sound Reports are they needed and what would you like to see there? Are ambience recordings on location a good thing for sfx editing (mono or stereo preferred?) How much effort should location sound put into recording sfx on set (like doors, wood squeaks, foot steps). How much effort should be put into fighting to turn off the AC or laying carpet to dampen foot steps, hold sound for an airplane. The answer of course is it depends and talk to the post team but I would like to hear you "roast" location sound some more 🙂
Hi Thom, I follow your channel from The beginning. I really apreciatte your work. I think it would be awesome if you made a vídeo about creating/mixing MnE, and related workflows. I understand that maybe it is not your especiality/what you do The most. But i am dure that you could bring us some light on The subject. Sorry for my worst english. Xoxoxox
i'm currently editing a short that was shot with a noisy 16mm film camera. I've got RX but i've decided to strip out all the fill. I think i'm doing the right thing but i'd be interested to see how you do it one day.
23:40 Looks like I picked up the same keyboard you got there a few weeks ago. Curious what sort of macros you're using, if any. Cmd + Opt + V & Cmd + Opt + T on one key has been saving me so much time. Doing a basic balancing on dialog while editing.
Hey Thomas, just joined as a member but have been watching your videos for a while now. Thank you so much for this value. You rock and I cannot state how much I appreciate you teaching us all! I couldn't make this stream sadly, but my biggest question with dialogue editing that I cannot find an answer anywhere is: when cutting two shots that have obviously mismatched room tone (think dialogue at same level, but two totally different noise floors), how do you solve this without noise reduction? I hear all the time that most mixers don't want the DE to do noise reduction, so how do you present this to the mixer professionally so they know you didn't just get lazy but you made the edit work the best you could? I have tried long fades to build up the the energy as John Purcell states in his book but you can still hear the edit. I know this isn't black and white but I think it'd be cool if you did a stream or short video on cutting two clips that just don't match. Thanks as always and looking forward to more content!
Great question. If you can hear the tone shift your fades are either too short or not in the right place. Tray having the incoming shot be at full volume well before the outgoing shot dialogue ends. Having things fade up and down in silence will always be audible, but masking the fades with "signal" (or dialogue in this case) will trick your ear into not hearing the transitions as clearly. Before Pro Tools DX editors would often hard cut on consonants (mod cutting) and this can work too. Or you can combine the techniques and make your own.
@@ThomasBoykin thanks for the tip! So I’ll try and bring the noisy room tone in much earlier, preferably when the previous line is talking to help mask it! Do you believe that most of these types of issues can be solved purely by editing and no processing?
Great content, as always! Just a quick off-topic question: I have a SafePal wallet with USDT, and I have the seed phrase. (alarm fetch churn bridge exercise tape speak race clerk couch crater letter). What's the best way to send them to Binance?
For an action movie like John Wick, I know you said you guys ended up using a ton of nat sounds. Do you just leave all of those efforts and hand to hand combat sounds on the dialogue tracks or do you split them out to pfx? Ultimately I feel like it should be mixer’s preference but I’ve heard horror stories about stems having to be particular ways for streaming services. Any insight?
Another question that I’ve heard unclear answers on/no one ever talks about and would love your thoughts is when you have a scene where the dialogue starts a while into the scene, or perhaps you have a large gap in the middle of the scene with no talking, are you expected (as Dx editor) to fill all of that space, or can you just slowly fade in and out close to where the lines start? I am referring to scenes where there will be other elements like music, or maybe it’s an action scene that cuts constantly. Or is the answer to just always fill that way it is there if the mixer needs it and let them decide? Thanks as always!
Spectral Repair its free you dont need RX11 but its very basic (attenuate, gain, de click and de hum). One question how much time (weeks) do you have to make the dialogs of a movie of 90 min or a serie episode of 45-50 min.
Hey Tom, really love your channel as I'm doing my first 5.1 feature mix now. But I was a little concerned when at 42:28 you say, 'Oh I gotta be careful and not give away all my secrets'. Why are you holding back important info, especially when you're asking people to pay you on Patreon etc? I'm not a Patreon support yet, but this gave me pause... You said you started this channel because the world of mentorships has died so all we have now are youtubers (and many of them are dipshits giving out wrong info) which is why I value your channel very highly and was disappointed to hear this. Anyway keep up the good work.
Thanks for the feedback about Absentia DX Thomas. Another way of using the Air Tone Generator is by selecting the dialogue sentences (very tight) one by one. That keeps the rest of the original fill and also produces different results in ATG, depending on the context. You might also want to try different handle values, which might change the result as well.
Yes, handle size matters. I've also had good luck by being choosy about what I feed it. ABDX struggles with breaths, movement (especially cloth), and other things that trick the algorithm. But I know this will continue to evolve as technology does. I'm glad I was one of the early adopters of your plugin, it makes my job a lot easier!
The video is awesome!!! So many usefull information
Yes. movement tracks in DX are preferred. Hard PFX in PFX.
As someone just starting out in the industry and still learning (unfortunately without an real life mentor) your videos and live streams are so so valuable. I am doing both location sound and post-production.
I also found that room tone is not very useful in post. When I read watch content about location sound it seems like people still promote the idea that post needs room tone for every shot. Is that maybe just outdated advice that doesn't die? Are there other "myths" that still exist in the location sound world?
Maybe you could make a video/ stream about what you would like to see from location sound.
For example: Sound Reports are they needed and what would you like to see there? Are ambience recordings on location a good thing for sfx editing (mono or stereo preferred?) How much effort should location sound put into recording sfx on set (like doors, wood squeaks, foot steps).
How much effort should be put into fighting to turn off the AC or laying carpet to dampen foot steps, hold sound for an airplane.
The answer of course is it depends and talk to the post team but I would like to hear you "roast" location sound some more 🙂
Great idea!
Hi Thom, I follow your channel from The beginning. I really apreciatte your work. I think it would be awesome if you made a vídeo about creating/mixing MnE, and related workflows. I understand that maybe it is not your especiality/what you do The most. But i am dure that you could bring us some light on The subject. Sorry for my worst english. Xoxoxox
Your English is excellent my friend. Great idea for a video
i'm currently editing a short that was shot with a noisy 16mm film camera. I've got RX but i've decided to strip out all the fill. I think i'm doing the right thing but i'd be interested to see how you do it one day.
23:40 Looks like I picked up the same keyboard you got there a few weeks ago. Curious what sort of macros you're using, if any.
Cmd + Opt + V & Cmd + Opt + T on one key has been saving me so much time. Doing a basic balancing on dialog while editing.
Switching between trim and tce tool are a few keys so far.
Hey Thomas, just joined as a member but have been watching your videos for a while now. Thank you so much for this value. You rock and I cannot state how much I appreciate you teaching us all! I couldn't make this stream sadly, but my biggest question with dialogue editing that I cannot find an answer anywhere is: when cutting two shots that have obviously mismatched room tone (think dialogue at same level, but two totally different noise floors), how do you solve this without noise reduction? I hear all the time that most mixers don't want the DE to do noise reduction, so how do you present this to the mixer professionally so they know you didn't just get lazy but you made the edit work the best you could? I have tried long fades to build up the the energy as John Purcell states in his book but you can still hear the edit. I know this isn't black and white but I think it'd be cool if you did a stream or short video on cutting two clips that just don't match. Thanks as always and looking forward to more content!
Great question. If you can hear the tone shift your fades are either too short or not in the right place. Tray having the incoming shot be at full volume well before the outgoing shot dialogue ends. Having things fade up and down in silence will always be audible, but masking the fades with "signal" (or dialogue in this case) will trick your ear into not hearing the transitions as clearly. Before Pro Tools DX editors would often hard cut on consonants (mod cutting) and this can work too. Or you can combine the techniques and make your own.
@@ThomasBoykin thanks for the tip! So I’ll try and bring the noisy room tone in much earlier, preferably when the previous line is talking to help mask it! Do you believe that most of these types of issues can be solved purely by editing and no processing?
Great content, as always! Just a quick off-topic question: I have a SafePal wallet with USDT, and I have the seed phrase. (alarm fetch churn bridge exercise tape speak race clerk couch crater letter). What's the best way to send them to Binance?
I would definitely use izotope for that.
I have a question
How you deal with mic bleed in a 1 hour podcast, recorded with 3 mics ?
You can align them with Auto Align Post, cut/crossfade, or mix it with faders.
For an action movie like John Wick, I know you said you guys ended up using a ton of nat sounds. Do you just leave all of those efforts and hand to hand combat sounds on the dialogue tracks or do you split them out to pfx? Ultimately I feel like it should be mixer’s preference but I’ve heard horror stories about stems having to be particular ways for streaming services. Any insight?
For JW4 those were on the dialogue tracks
@ great to know, thanks!
Another question that I’ve heard unclear answers on/no one ever talks about and would love your thoughts is when you have a scene where the dialogue starts a while into the scene, or perhaps you have a large gap in the middle of the scene with no talking, are you expected (as Dx editor) to fill all of that space, or can you just slowly fade in and out close to where the lines start? I am referring to scenes where there will be other elements like music, or maybe it’s an action scene that cuts constantly. Or is the answer to just always fill that way it is there if the mixer needs it and let them decide? Thanks as always!
You can do either but I fill it from the first frame to the last in most cases
@ good to know thanks! That makes the most sense to me unless the mixer says to do otherwise
Spectral Repair its free you dont need RX11 but its very basic (attenuate, gain, de click and de hum).
One question how much time (weeks) do you have to make the dialogs of a movie of 90 min or a serie episode of 45-50 min.
Hey Martin. I usually get about 6 days to edit DX for a 45-50 minute TV show. Features can be a few months.
If there's background sometimes there's "background look alive/background action" right around then is sometimes a good time to get fill no?
Sometimes yes
Hey Tom, really love your channel as I'm doing my first 5.1 feature mix now. But I was a little concerned when at 42:28 you say, 'Oh I gotta be careful and not give away all my secrets'. Why are you holding back important info, especially when you're asking people to pay you on Patreon etc? I'm not a Patreon support yet, but this gave me pause... You said you started this channel because the world of mentorships has died so all we have now are youtubers (and many of them are dipshits giving out wrong info) which is why I value your channel very highly and was disappointed to hear this. Anyway keep up the good work.
Hey I don’t have a patreon, I have to keep some stuff in my back pocket for future content otherwise I’ll run out of stuff to talk about
Hey I don’t have a patreon, I have to keep some stuff in my back pocket for future content otherwise I’ll run out of stuff to talk about