Sound Mixing a Short Film: Post Production Walk Through
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- Опубліковано 6 лип 2019
- Recently I worked with Uphill Cinema on a short film where I was the production sound mixer and also post production mixer. In this episode, I walk you through the finished post mix in Adobe Audition so you can see how we did it.
See the short film Listen: • Listen - Short Film (2...
#Sound #Mix #ShortFilm
If you’d like to learn how to make great dialogue audio for your film and video projects, please have a look at my courses at school.learnlightandsound.com including processing dialogue audio in Adobe Audition and DaVinci Resolve/Fairlight, recording sound, how to use the Zoom F8 and F8n, and how to get the most from the Sound Devices MixPre series of recorders.
Gear used to record the film:
DPA 4017b Shotgun Microphone (B&H): bhpho.to/2m0N3HA
Audio Ltd A10 Wireless Microphone System (B&H) : bhpho.to/2NDAmDd
Sound Devices 633 Mixer/Recorder (B&H): bhpho.to/2UCbZJ6
Countryman B6 Lavalier Microphone (B&H): bhpho.to/2KtoHS6
DPA 4160 Lavalier Microphone (B&H): bhpho.to/2Mi1GGE
Tentacle Sync E Timecode Generator (B&H): bhpho.to/2AxJ8r7
Sony FS5 (B&H): bhpho.to/2NDDyyW
ATOMOS Shogun Inferno: bhpho.to/2uOrnpB
Take your films to the next level with music from Musicbed. Sign up for a free account to listen for yourself: geni.us/G7by
Copyright 2019 by Curtis Judd
Ethics statement: Some of the links above are Amazon.com, B&H Photo, or other affiliate links.
Dear viewer, thanks to many of you for pointing out that this is not the best way to teach. I originally figured that you could watch the short film first then come here to have a walk through of how I approached the mix. But I see that I should play back examples in the walk through. I promise to do that next time. 🙏
Curtis, this is great. I really do believe that most people think the sounds in videos/movies are just naturally recorded by the mic at that particular moment. I don't think they realize how much post enhancement is made to make specific sounds stand out in order to provoke an emotion or sense.
Not only was this a great awareness video of how much post can enhance a piece, but it also conveyed some great processes for videographers to use.
Thank you!
Thanks Douglas!
I can sit with pop corn to watch your videos, very satisfying, like a story being told. Thumbs up.
Thanks!
Excellent walk-through, Curtis. I really appreciated seeing how you approached the various challenges of shooting outdoors in a public space.
Thanks Barry.
Watching this feels like Christmas to me. Can't wait for our next project.
Hahaha! Thanks for letting me be part of the team!
I do appreciate your effort, watching this pos is an unique experience that teaches me incredibly. Thanks again Curtis and greetings from Colombia.
Thanks Thecinemaster Jp! Greetings from the Rocky Mountains in Utah.
Please please make more of these. I absolutely loved this video, I am working on a short film right now and I don't know anything about editing and mixing. This video helped a lot and I will definitely use this as a guide when I get into mixing. But more videos on sound will be very very appreciated. Thank you.
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Pure gold. More of this type content please Curtis.
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I'm beginning a mix for a 20+ minute film, and this video is exactly what I was looking for. Your walkthrough of the mix helped me identify many practices and processes to keep in mind as I work. Very thorough, well explained, and well paced. Thank you so much!
Glad it helped and best wishes on your mix!
Great behind the scene of how extensive audio work can be.
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Extremely interesting and informative. But also maybe a little daunting. Sound is truly half the film, and often more. At least in this day and age we don’t need to splice audio tapes.
It's really amazing for me to think how things have developed in the 59 years that I’ve been around. How many new things are possible, and how much easier many things have become. But I'm also in awe of how much people managed to accomplish when computers didn’t exist. Which to me was like yesterday, almost.
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Lovely exposition of the principles involved. Thanks a lot!
While I've never done any work in this area, this will come in handy whenever I do.
Thanks Pradeep!
I’ve been sooo waiting fir something like this! Thank you
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Adding in a new recording of the park noise afterwards in genius! I’m for sure using that tip
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Very illustrative, inspiring & practical talk. I am so happy I have learnt and doing same as you sir.
Thank you Dr. Maulik Shah.
Awesome stuff Curtis! Thanks for sharing your great insight. Every filmmaker needs a solid understanding of how important audio is in a film! By the way, I'm 99% positive I saw you driving by me a few weeks back, if you drive a blue car. I found it was so funny & bizarre to randomly have spotted you!
Thanks! Yes, I do drive a blue car. That’s hilarious!
Thanks for sharing your workflow Cutis! Great short film!!!
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Loved the sound, well-captured and produced. Great detail in the tutorial/walkthrough, and love to see that you're Utah/Provo based. If you ever need someone to help hold a boom pole, I'd love to come help. Trying to get into the local film scene.
Thanks Neil! Would love to have you come help on our next project. You can contact me directly via email on my YT channel page, about tab.
This was an amazingly insightful video, thank you very much for sharing! As a composer, I also freak out when mixers carve out a -10dB notch in my work hahahaha, but I get why it happens
Glad it was helpful! Thanks for understanding. 😉
Good tutorial! I personally started using TrackSpacer to carve the Dialog out of music dynamically. Very effective tool.
Thanks for the tip on TrackSpacer 👍
i absolutely loved this video, thank you!
Thanks Mildred!
Hello Curtis, I'm a sound engineer and work a lot as a dialogue editor. First, congrats on making good content on all sorts of topics. Although this is far from my workflow (Pro Tools), its nice to see other perspectives.
About the EQing on the music to fit the voice, sometimes it's better to throw in a multiband compressor and trigger it with the DX aux, that way you get a softer and more dynamic cut on the frequencies that are interfering with the voice and only when dialogue is happening... it's less destructive than cutting down all the midrange.
Thank you! Sidechain multi band compression - appreciate the input!
Thank you for such a detailed explanation of the work you've done. I like your videos.
The only thing in the film that seems a bit unnatural to me is the sound of the tires. They sound very bright and close, which is a bit inconsistent with the picture - to my taste. But as we know, one cannot finish mixing, one can only stop it at some point :).
Thank you for videos!
Thanks for the feedback!
Great video! Do you think you could show us an updated version of this process? Do you use isotope RX in this process.
Yes, working on a new version in DaVince Resolve.
Thank you 🙏 Curtis... you helped me on UA-cam yesterday and I got my gear in the mail today. I sent a video of the gear you recommended in your IG messages
Thanks 👍
A highly informative tutorial as always. Thank you so much. May I ask a tangental question? I have a Tascam DR-60D mk II. Using two microphones with phantom power in the left and right inputs, is this unit capable of producing two independently editable channels? Thank you in advance.
Edward
Thanks Edward! Yes, the DR-60DmkII can record each of the XLR inputs to separate channels within a stereo wav file so you can edit them independently in post. Best wishes!
I once recorded a presentation with an awfully loud background music from a nearby park and I wish I knew to push EQ a little bit harder. I relied on low cut of the recorder and it helped a lot. I used noice reduction to cut the music out, but it affected recorded voice. Thanks, I will remember that.
👍 Post mixing is a rich craft with lots to learn.
hi Curtis, great video nice inside of some great audio work on a short film, i really enjoyed it very informative.
i was just wondering, would you be able to use a dynamic eq on the music track side chained on the vocal's (dont know if you used a mix bus for the dialogue tracks) to make the eq cuts based on the vocal level ?? or would that make the whole thing to nervous??
Tom
Hi Tom, absolutely could do!
Enjoyed the movie and thanks for the glimpse into this.
Thanks Richard.
@@curtisjudd Any chance you do a video on your hard drive set up? Is it as simple as internal SSD's for video/audio editing. And then store backups through a docking station to HDD? I'm in the early stages of getting serious about short film documentary. And this is a topic that is important but oddly sort of hard to find good advice on.
@@richarddow8967 Hi Richard, this is a good idea for a future video. I'll add it to the list. I'm not convinced that my solution is perfect, but it is better than my previous efforts. I use a very fast external Thunderbolt 3 SSD as a work drive for current projects, a 4 disk RAID 5 array for medium term storage (current year archives), and external HDDs in a USB dock for long-term storage. Then I also use a cloud backup service for redundancy. More to come.
As I'm making it up a I go along this is very useful, thanks.
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I would love to see at least one more of these from you.
Plan on it!
Have you tried waves vocal rider, or neutron 3 to automatically automate volume and EQ dialogue/music too? I’d be lost without them. And RX aid course
Just a little, need to dive in!
Hey Curtis - great video, excellent tips. Just wondering if you have any tips for doing sound mixing / design / music specifically for documentary film or factual TV?
Hi Red Sun Sound, thanks. I haven't worked on docs or factual TV, unfortunately. But I wish you all the best!
Ooooh, 22 minute instructional video! I don't mind having class on Sunday at all.
(Just curious Curtis, but do you do all of the video editing throughout the week and then upload the finished video on Sunday after having a Saturday night rest?)
👍 I try to shoot by Wednesday and have the edit done by Saturday so I can get all my household projects and cleaning handled on Saturday. But this one was recorded Saturday night and edited last night and this morning.
Great video. Question: For those terms like DX/FX/MX, where can I find a comprehensive list of what they mean? I'm new to this field and got a bunch of audio files to work with, and they all have these abbreviated terms in the file name. Would be really helpful if I can get some guidance on this. Thanks!
I don't know, but if you find such a list first, please let us know!
Thanks for another great video mate. Also, really liked the film.
I am about to shoot a 2min short. Quick question: how to do you mix dialogue when the scene cuts from a wide (from a distance) to a close-up then over-the-shoulder shots facing the talents who's speaking and then the one who's listening. So, basically the dialogue keeps on going whereas the camera keeps cutting from one angle (or distance, focal length) to another. How do you mix to make it sound more spatial and realistic ?
I've heard it done lots of different ways so that is really up to you. I'd try several different things and listen for which of them serves the story best.
Grt video. Thanks!
Thanks Phil!
Trying to learn more about this after working with music for a while.
I want to know what do you have in mind when you EQ, do you wanna make most cuts possible or leave the all the frequencies you can (except when with specific cases like high pass inside of the car and fxs)
No, I just reduce the really harsh frequencies and leave as much else as possible or at some point it starts to sound odd.
Excellent work. I noticed that you did not apply compression to individual dialogue tracks. Would you recommend applying dynamics processing to overall dialogue/sfx tracks instead of individual elements? Thanks you for sharing your workflow
It depends, just like in music mixing. I usually use compression on individual tracks to make a voice more “up-front” if I want that. Any compression on the master bus is usually to get things glued together and to make enough headroom to hit my loudness target.
Could you make a video about loudness of very loud effects like gunshots compared to doalogue? How many lufs can I go beyond dialogue?
Gunshots are largely short-term transients with fairly quickly falling tails. Each of the loudness specifications treat these as short-term loudness impacts and have their own targets. In general, they can be a bit louder, but still should not exceed a specified true peak level. You can learn more about the ITU BS.1770 spec here: www.itu.int/rec/R-REC-BS.1770-4-201510-I/en
beautiful tips
Thanks Joshua!
Did you do anything else to the music other than the EQ drop to avoid competing with the dialog? For example, is it common to push the music far left and right keeping the dialog and FX in the center to make room for everything?
I did not. The only concern I’d have with panning is that it may not translate well to mono playback systems.
@@curtisjudd Thanks! I just did music for a short film in stereo and it got mixed so low you can barely hear it. Typical composer, I know. I will try the notch filter technique and see how that works. I am also beginning to explore 5.1 mixing; of course that won't address the mono scenario either.
Hi Curtis This is an awesome go through detailed tutorial!
I noticed that you zoom the screen record to show the detailed of the audition, but there seems no resolution lost, how do you do that?
I use Screenflow on macOS which does a very good job of scaling.
@@curtisjudd Thanks! Is the scaling be done in post?
@@joe51317 Yes, screen flow has an editing app which makes panning and zooming easy. At export from the editing app, it takes care of the scaling using the libraries built into macOS.
Nice tutorial. Q: you spliced your music track into clips to add EQ to bring down the mids?
Yes, though that sometimes requires fading in and out rather than just cutting and dropping an EQ on the clip.
Do you have a dedicated tutorial for clock / time code? Would love more details on setting that up and how important it is for swapping between editors.
I have a few demonstrations. Here's the most straightforward: ua-cam.com/video/o36XYOPp0BE/v-deo.html
@@curtisjudd Awesome, thanks very much! Sorry for being too lazy to go browse for it myself ;-) You have so much great content!
super cool video. helpful
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I'm an artist and I have dynacord audio mixer and microphones and speakers, I always sing with a small band and I always record the sound coming out of the audio mix with a tascam dr60mkii and I film the video by the phone attached in a stand then I sync the audio with the recorded video but right now I'm looking for a faster way, in case I go for a concert, in which I take a video and record by the audio mix via the camera. How can I do that and which equipments and camera should I buy? Do I need to buy a noise isolator or is it possible to take the audio out of the tascam directly to the camera? Or is there a better device that I can buy like the tascam zoom f4 or mix pre. Keeping in mind that I only use one track because I'm taking all the outlines from the mixer
Hi Ehab, yes, you can send the audio from the DR60DmkII to most cameras. I’m not sure which camera you should buy, but I’ve been happy with my Panasonic GH5.
I was curious how a "pro" does it, especially in Audition,, as I have been recording and mixing two small projects as of late - in Audition. It is fascinatingly similar. I'm happy my intuition is correct. Thanks for some good tips along the way. Always appreciate this.
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As someone who does almost exclusively Audio-Post (Editing, Foley, Sounddesign , Restoration, Mix) this is somewhat irritating and funny to watch. You are insanely well versed when it comes to recording on set and my main go-to resource. I expected you to show me sick tricks in terms of Sounddesign, yet here everything felt extremely basic - and almost too quick n' dirty in some parts. I was irritated as hell, until i realized that probably i just have a lot of experience here and every Audio-Person has other fields they are proficient in.
Keep up the good work - Love you man!
Hi Philipp, thanks. Would love to see some in-depth knowledge from you on post and sound design!
If you'd like to come on the channel and talk on one of our live sessions sometime, that'd be interesting.
once you're done with this in audition how do you personally export to send it back to NLE? do you just put it in a single wav?
It depends, but if you do not need separate stems for dialogue, music, and effects, yes, can just bounce out a single stereo mix .wav and then cut it in to the timeline in your NLE.
Great stuff Curtis. For the car audio I wonder why you place the lav in the sun visor rather than on the talent? Was it to avoid potential issues with clothes noise or something else? Cheers!
Once seatbelts are on, the chest is basically a non-option. Also, having the mic just above gives a more natural, boom mic type of sound.
Curtis Judd ah ha - of course. Now I know how to mic someone in a car! Many thanks!
Hi mate! What's your tip on matching the sound of lav/boom when you need to use them both for the same person in one scene? Just eq?
EQ and more importantly, getting them lined up so that they are as close to in-phase as possible.
@@curtisjudd and just EQ to ear? that second part goes without saying but it's not really what I meant here, rather, if one part of the dislog sounds best on lav then the other part of the same scene is better on the boom.
@@gustaflembre4191 I'd use dialogue match from Izotope. But it is a good idea to learn how to do it by ear and Izotope is expensive unless you use it for paid work and often.
Thanks for making this; a lot of it was pretty straightforward for me, but maybe that cause I produce music and have some experience. That said, I think there’s few great tutorials on sound (I.e. micing, ADR) on UA-cam.
Thanks Dave.
Hey Curtis, one big thing I'm still working on understanding (I'm coming from an FCPX background, but trying to learn how to use the Adobe CC apps better): How and where do you work on selecting and mixing the different mics recorded by your 633? When using polywav files in Premiere Pro, I feel like my timeline gets insanely cluttered because each audio clip can have between 4 to 8 tracks (I also use a 633, so Mix_L, Mix_R, Boom, Lav for example )...does Audition have a more streamlined way to view those polywav files and help you mix tracks? Have you already done a video on this subject? I was kind of surprised looking at your Audition timeline in this video that the production audio files (which you talk about using both boom and lav from the day) only take up one track in Audition vs the many tracks they take up in Premiere.
TL;DR - Do you mix your production sound dialogue tracks in Premiere or Audition? How do the polywav files from your 633 become single track dialogue elements here? Is there a video you've already done where you go over this?
I found it! ua-cam.com/video/1u7kEfmdkIc/v-deo.html
Hi laughing with the storm_, I mix in Audition and the editor - in this case also the director - first did the edit in Premiere. He left all of the audio tracks in place and just collapsed them and left that work to me. But it looks like you already found the other video. I hope it helps! 😀
really interesting, would be really good to have the actual audio as a reference as i watch. I know i could watch the film and try to remember each part like you've said in other comments, but im never going to go and hunt for a moment in a film to see what you did then try and reference it back to what you are showing. What would work great is to pick your fav bits and go " and here i rolled off the top and bottom to make him sound far away" and give an A B to illustrate why. Otherwise really good video.
Thanks for the input. Lesson learned.
Hello Curtis, it's a great job! Why don't you play the sounds you're explaining? I guess it might be even more informative that way :)
Yes, that’s the same feedback several others gave. At the time, I asked everyone to watch the film first because playing them all here would have made the video super long. I’ll try it differently next time.
Iwant make short flim but I'm thing how can i set my sound like dialogue 'foly 'sfx' ambition sound all together work how set multipletrack sound set wich is increase and which sound is discreas...sir plz tell me about that thing how set all sound set in my software I'm waiting your answer sir ...
Keep watching this channel and my main channel: Curtis Judd. We'll cover it there or in my courses at school.learnlightandsound.com
Is this a regular workflow for a feature film? I mean, having one track for each scene?
Not sure I follow as we had several tracks for each scene. As for features, it depends on the post team. If you have multiple dialogue editors and fx editors as well as a post sound supervisor and sound designer and re-recording mixers, you're more likely to break things down into separate sequences and then re-assemble them as progress is made.
Nice video! Is music is exported as one track for various themes?
Thanks aswin. For delivery for screening, you usually leave the music in the overall mix. But perhaps I've misunderstood your question?
Help, please! I'm trying to make Audition do the following: The video to scroll under clips nudge back and forth. Just like it does with the playback header. As you move the playback header, the video follows that move. So, I want the same happens when I move clips... Is there a way? I've been looking around in tutorials and preferences with no success. Thank you!
Hi. Thanks for the question. I don't quite follow. Are you trying to nudge the audio clip to the right or left by a certain number of samples?
@@curtisjudd Thanks for your reply. Well, no. What I want is that, when I do the clip nudging, or just move it left or right, the video scrolls along with that move. Lets say I want to spot the frame to add or copy a sfx to sync it with an action in the video. I need to grab the playback header to find that spot (cause when I move the pb header the video moves along) , then add a marker, then bring the clip into than place. I can skip a step if the video scrolls or move along, not with the pb header, but with the clip, when you move or nudge the clip, the video follows! That is what I'm looking for. I normally use Pro Tools, and it does that by default, so does Logic, Cubase, Nuendo, Digital performer, even Garbage Band... but this time I was assigned to do something in audition and it's driving me crazy because of this :/ Thanks again
@@mctapia12 I see. Unfortunately, you cannot change the video in Audition.
@@curtisjudd I don't mean editing the video, just that it follows playback with audio clips moves... But anyway, I've been answered in other channels that you just can't do that in Audition... weird. Thank you very much for your kind replies.
One issue for me is you explained it very clearly, but without playing the audio meantime i could understand only half. I have watch the film and I am a newbie, so...
Yes, need to watch the film first.
Do you have to adhere to any overall loudness guidelines for this to be broadcast or shown in a cinema?
Broadcast usually = TV. Cinema usually = theater. In the case of cinema, there are no laws, but I would generally stick to -23 or -24 LUFS since you'll be playing back on a presumably high quality sound system.
@@curtisjudd - Thanks Curtis. What happens to the sound after you deliver it?
@@paulgoldingx Hi Paul, I'm not sure I understand the question. If you mean why normalize to that loudness, I can say that mastering to a loudness of -23/-24 LUFS retains far more dynamic range so you have more room to create the right emotional feel for the film. Going to a loudness of -16 LUFS generally means you have to give up some loudness range so it is harder to be subtle when you need to do that.
Was this mixed to specific levels Curtis or did you decide to trust your ears and go with what sounded good?
Also was any compression used anywhere in the mix? I’m never sure whether adding compression to things like dialogue or the final mix is a good idea.
Thanks! And as usual excellent work.
Hi Craig, in this case, we loudness normalized in the end to -17 LUFS for the web version. I had to use some compression just to pull down the transients on the dialogue. I did that by bouncing all of the dialogue tracks to a new track. Then to hit the final loudness, I bounced the entire mix and loudness normalized that to the target.
One other note: if we were to submit to a festival or other theater screening, I would have normalized to -24 LUFS. Probably wouldn’t need much compression at all in that case, just a basic pass on the final mix.
Thanks for that very helpful answer Curtis! I’ll have to try that method sometime.
There's a new update for Avid Media Composer, version 2020.10, allowing for ProRes RAW support (linking and playback, but not export) via its Universal Media Plugin. The update also supports macOS 10.15. 7
Thanks Pepe.
Hi Curtis!!! Nice video. A few questions. 1st, In the car scene, I mean inside the car, you could have also used a shotgun mic like NTG4+, Azden etc. instead of a lav. mic, right? 2nd, Is a shotgun mic used for picking up background sounds as well as dialogue? 3rd I want to shoot my 1st short film in my house, so can I use a shotgun mic like NTG4+, bcz my house is not very echoey. Lastly, upto what distance can outdoor shotgun mics like NTG4+ and indoor shotgun mics capture audio?
1) you could, yes. It will be more important to aim it just right and keep it out of the shot. 2) A shotgun microphone is usually desired because it is more direction and does NOT pick up as much background noise when recording dialogue. But you can use it after to record ambiences, yes. 3) Yes. 4) About as far as people can hear, but it will sound far away. Best to get it within 40 cm when recording dialogue.
@@curtisjudd Suppose I record with NTG4 Plus, then will it also record the sound of movements like sitting, walking or is it just for dialogue.
@@curtisjudd Is there any shotgun mic that can record good audio at 6-7 feet, bcz for my purpose 40cm is too less
@@curtisjudd And by the way which lav. mic was used in the movie?
@@mychess5821 They all can, they'll just sound far away. You can try a long shotgun mic like the RODE NTG8, but it must be aimed perfectly.
Just wonder why my mix track's loudness always have problem. The mix track always sound different in different devices. Could you please make a video for that?
Hi Leonard, could you describe the issue in more detail?
@@curtisjudd Hi, Curtis. When I doing the final mixing, the final printed track is always has issue. Sometimes sfx in some part still sounds low, sometimes sounds too loud. And also the final mastered track's loudness sounds different when it been played in different devices. Should the each part like dialogue , sfx, foley, music's loudness monitoring to level EBUR-128 LUF18 or mastering the final track to EBUR-128?
@@leonardliu5193 Ok. It sounds like perhaps the monitors or headphones you're using may be missing some frequencies. You could try applying loudness to each of the clips before exporting the final mix and doing the final loudness pass.
@@curtisjudd Thanks, Curtis. I will try if this works. ^_^
Hey Chris I know i'm late to the party with this question but here it is anyway. In this day with the the tech we have what is the point of a production sound mixers mix other than for video village? I just can imagine anyone in post using it anymore.
For fast turnaround projects.
Also, many editors don’t know what to do with iso tracks in my experience. The great ones do, but many others don’t.
Thanks Chris. " fast turn arounds aside" So basically a scratch track for editors. @judd
Sorry, its me again.... FCPx issue
Can you help? I have made a series of Events of an interview which I asked ten different questions, all shot separately with two cameras and zoom audio. Within the Event I made a Multicam Clip and then a Project with I edited. So now I have ten Projects in each Event.
The question is,,, how do I create a new Project/Timeline so I can add ALL the small Projects/MC clips and make one 'film clip' to export out?
Hi Laurence, typically, I keep all the clips from a single interview in the same event and cut them all into the same project. You can go into each project and copy all of the clips and then paste them into whichever project you choose as your master timeline.
Thanks for getting back. Yes I first though to do this as its my normal way but then I thought I would have 20+ clips and another 10+ audio clips and it would get very confusing when I made MC's but I can see that would have be better, I think. When I make a new Project it asks in which Event I want? I have made a new Project in an Event called 'Group' but can't paste (e) final edited Project into it. I can paste the Multicam but that's not the finished clip. Do you think I will have to go to each MC and select the best part and paste them into a Timeline/Project then add transition. (It was to show the customer the finished clips in one sequence)
@@laurencegrant2882 Yes, based on how you have things organized. One thing to consider for the future - put all of the clips for a scene into the same event and name each clip. Then you have use the search function to quickly find the bits you need. Best wishes!
Thank,s I have realise this now :(
Was trying to be cleaver by separating them into Events. I was worried that if there were 10 interview clips with two cameras and zoom audio it would get rather confusing but as you say I can rename.... Question/camera/take etc.
I have an A4 paper with headings Cam 1, Cam 2, Audio, and i put each of the camera filename in the correct heading, then imported each set into an Event. Wrong !!!
Cheers.
Some methods don't work for me. For example eq move you did in dialogue scenes, don't work for my hiss sounded recordings. Even I've fixed it, hiss boosted again after eq.
I’m sorry - there are a lot of factors. EQ is not the best hiss removal tool. Try a de-noise plugin first.
Hello,
Great video.
I would like to know if you made a video about surround sound post production. I have not seen one in your channel.
Thank you.
Hi Christian, thanks. No, I haven't done any surround mixing yet.
@@curtisjudd Thank you for the response.
Hi Curtis, Please could you help or direct me :) Following my last question about using a Y lead to split the audio in to camera and zoom recorder I found the the camera was the main issue. Using Fuji XT2 was noise using XT3 was fine!
Todays question which I think is right up your street.
I did an interview of ten questions, with two cameras and separate audio. Each question I started a separate clip with clapperboard. (actually did the whole thing twice)
I now have Camera 1 clips and camera B roll (side shots) My question, using FCPx
Do I bring in each 'set' of clips, Cam 1, Cam 2 and audio into a Project or an Event then make a Multicam of that 'question' then when finished all ten, make a Project and drop all the Multicam clips into one timeline OR....
Drop everything into one Project, click Multicam and hope for the best???
Please could you direct me as to where I should be going.
Appreciate your time :)
Hi Laurence, a clarification question if I may: Did you record the A and B cameras simultaneously with audio on both? I'm confused when you referred to the B camera as b-roll as b-roll is usually without sound and shot at a different time. Just looking to understand. It should be easy to sync two cameras into a multicam clip if they were shot at the same time and both have audio.
Many thanks for your prompt reply. Sorry, Yes both camera set at the same time, plus mic on each camera. (Rode VMP on cam 1 and a Boya on cam 2) and set Zoom H4n at the same time. Did a clapper so sync should be fine its just with ten separate clips I'm not sure how best to create a timeline (Project) I know how to do MC with 2/3 cameras but not sure if i create a `project or `event for each clip, then MC, the add to main project.
Im I making any sense? lol
Oh, then you just need to create a new multicam sequence. You can include multiple multicam sequences in the same timeline in Premiere Pro or Final Cut Pro X.
So create a project. Dump all the clips and audio and then make a Multicam which I can then open and edit as I wish?
@@myphotosforever4150 drop all of the files into a bin, select them all, right click and create new Multicam sequence. That will create a new sequence which you can then drop into a timeline and use the Multicam switcher to edit. I'm assuming you're working in Premiere Pro.
I really liked how clean the audio was coming from the boom mic. It's unfortunate that it wasn't able to catch it as well when Ty's head was towards the ground. So much goes into audio production that is never recognized and /or appreciated by the audience. But maybe that's probably good if they don't recognize it cause that means you've done your job right and kept them emersed in the story.
-Will
A lot of nuances, indeed!
It would be awesome to hear your ppa video.
👍
Given the hat and long hair on one of the actors, did you consider placing the mic in the hat instead of the chest?
Hi Gregg! I had that option in my back pocket, so to speak, but once the actors arrived, the director gave me about 2 minutes to wire up both of the actors so I had to go for the standard, quick, under the shirt option. I would have pushed for time to do the hat method if we were getting a lot of clothing rustle, but that didn't really happen. In retrospect, the B6 was too boomy on his chest so I would have asked for a few more minutes to put the lav in his hat. Lesson learned, hopefully. :-)
Hello Curtis I need your help once again. I need to find out how to Jam Sync Mixpre 6 to my Panasonic S1H for timecode. Can you please help... I’m willing to even pay you for your time over a phone call. Let me know
Hi Bobby, I haven't tested the S1H but the GH5S timecode drifts quickly so it isn't my favorite solution - rather frustrating really. You can contact me directly by going to my UA-cam channel, then to the about tab.
What software should I use for sound mixing
I'd need more information. Are you mixing videos, short narrative films? Do you already have an Adobe CC license? Will you be working on bigger budget commercial, TV, or film projects? It all really depends. At a very high level, Adobe Audition is a good choice for indie film and lower budget corporate video. But if you have aspirations to work in bigger budget TV, commercial, and film projects, you'll need to learn Pro Tools.
@@curtisjudd hi Curtis it's just for independent films. I need to mix it, make sure it meets all audio sound specs for Amazon and UA-cam?
@@Manny4movies I use Adobe Audition for mixing videos and it works well. If you are on a tighter budget, DaVinci Resolve is worth a look.
Great breakdown. It would have been helpful to hear the examples and the overall final, but maybe you weren't allowed to do that.
Overall mix is in the linked film. I considered playing each of the examples but that version was way too long. I think I’ll probably do that in a formal course.
Tanks for this very interesting video even if it would have been more interesting with some sound ;-) And I would have accepte to spend more time to watch it :-)
You're welcome. Did you watch/listen to the film from the link?
Yes I did :-) I didn’t understand everything but enjoyed watching it.
Hey Curtis, I know you're a busy dude but wanted to see if it was alright to email you for some advice. I'm currently doing sound on a short film and had some questions in regards to workflow and how to handle issues I'm having with files and editing. If it works better to ask up here I can do that too. Any help is much appreciated. Thanks!
Sure, you can find my address on my UA-cam channel's about tab.
Audition seems like a good DAW. I can never get it to work without it crashing.
It has been pretty stable on my iMac Pro. If you're in it all day, every week, I'd expect about a crash per week or so.
It would be nice to hear what your explaining . It’s killing me that your describing all of this but can’t hear it ! I cannot believe not one second of what you said or did you actually played to hear what your doing ?? Is this on purpose ? I’m blown away by the fact your an audio engineer but did not let us hear one second of anything? Am I missing something? Please explain
Yes, you missed the link to the film and the instruction to watch that first.
Whoever thumbs down this needs to get a life.
Hahaha! Maybe they have a life so they don’t have time for a 22 minute video. Or it may have been my mom who is disappointed that I didn’t leave earlier this morning to visit her. 😀
Curtis Judd it was a subscriber who wanted you to test a limited/clipping and felt slighted you didn’t scream on this one. My guess
@@DavidKfilmmaker Hahaha! Good possibility! Somehow that scream is highly entertaining.
Did you press the Play button at least once in this clip? wtf
You missed the part where I provided the link to the finished film?
Nevertheless, point taken. All future run throughs will be a lot longer and include playback right in the same video. And those who complain about the length of the video can just go pound sand.
4:04 these boring details are what can make or break our short films lol
Understood. Shared as much as I could in 21 minutes. 😀
A video about sound which does not let us hear anything... Pretty frustrating. :(
Watch the film here first: ua-cam.com/video/FxZ75MNHT0E/v-deo.html
@@curtisjudd thank you but what I think would be interesting is to understand how you make mixing decisions. How you switch between listening in context and in solo to make these decisions. How you decide the right balance in your actions.
I think that the difference between an average engineer and a high level one is quite subtile and not so much about the technics. But maybe this is why you want to keep some secrets. haha
@@SonnyZamolo Thanks for the feedback. I've heard this feedback loud and clear since I posted this in 2019. I did a longer form, but less formal thing along these same lines in my livestream weekly session over at ua-cam.com/video/IR60F5FJZ5s/v-deo.html
@@SonnyZamolo And also, I assure you I'm not trying to keep any of this a secret, just looking for a good way to present this without making a really long video that most people won't watch.
@@curtisjudd Awesome, thanks !
A SOUND MIXING" video with no actual sound of the mix?
You didn’t go watch the film as instructed?
not to hear a single sound !???????
This was the explanation. Follow the link to see and hear the film.
Weird not to hear what it sounds like.
Yep, I'm still paying for that mistake years later. People complain about videos that are too long when I share the sound, and people complain about the video not sharing the sound when they are shorter. So now I just make the videos longer and the "...its too long..." complainers can just deal with it.
Curtis Judd tough job to please all. It’s a good video and I think you could just played a snippet when you mentioned it. Wouldn’t tell unless I found the content good. It’s a great video. Keep up the good work.
@@surfricke Exactly, there's a fine line in there somewhere. I'm still looking for it.
Well, I found audio tutorial without actually letting to hear things as pretty useless
I was clear that you should go watch the film first. But thanks for the feedback. I’ll incorporate that next time.
Thank you for your time and all the detail, but since we are heavily talking about sound, but not actually playing it..this whole video defeats the purpose. I hear you, but no examples. Hard to 'visualize'. Just a future advice.
Thanks. You didn’t go watch the film as advised? I don’t know how to include the sound here and not make it so long that people give up. Biggest complaint is, “...too long!”
@@curtisjudd I will watch the film for sure, but when you point to the tracks, it would b nice to have some sort of tangible reference, not just visual. A few seconds suffice. And yes, I do get your point ab the length. Though I doubt a few seconds here and there should make a huge difference. Cheers!
I know. Retrospect makes it obvious. Thanks for the feedback.