Tom. I’m not even remotely qualified enough to follow these tutorials properly, but they have always been the most thorough, efficient and comprehensive tutorials for audio I’ve watched on UA-cam. Please keep it up!
Thomas you are doing the lords work with all these videos. I’ve worked in audio post for three years and you have taught me so much, I can practically live off of it 🕊️
Man, this is so great, Tom. A fun tip I do with AAP2 is before processing, I'll just duplicate the playlist so if I run into any funky AAP2 processing bits, I can flip back and grab the RAW and then re-process or clean separately. Thanks for putting in so much work on these!
Nice tutorial Tom! One small suggestion for all. Be always careful with non-linear phase modules in RX, used after or even before when AAP gets involved. Examples are: EQ, De-hum. I always double-check the potential phase shift by zooming in the waveform (if I am not 100 % sure).
Thanks for another helpful video. When I encounter low to low-mid frequency bumps like the mic hit you cover here, one thing that sometimes works for me is zooming the vertical axis until I there is enough bandwidth between the harmonics of the voice so it resembles a ladder. Then I can spectral de-noise VERY frequency selectively, grabbing between each harmonic. Or I might use the gain utility set to -6dB and hammer away at it, bit by bit. It's not guaranteed to work but I've saved some takes that sounded unrecoverable at first.
Great video Thomas thanks, I think the shoulder twitching is really funny actually 😆not ridiculous at all! BTW I love to edit every click/pop and noise manually in Rx but it can get intense when you've got a lot to get through...
Tom is in it for the content, love it. Tom while on dialogue, is there one that you can share some insights on advanced ADR already (matching with on location recording)? If not, if you have the time, it will be awesome.
Hey Tom, thank you so much for all your videos! They've been incredibly helpful in improving my dialogue editing skills every day. I have a request - could you create another video that demonstrates a complete and pristine clean-up of the same sample? In our industry, mixers require both the Lav and boom tracks to be clean during the dialogue editing stage."
To get them squeaky clean you just need to overprocess them, which I don’t usually do. I would rather leave some noise in if the sound quality is better versus removing all noise for a more processed sound.
Do you think anyone uses the production mixers mix? I'm curious what the point is anymore of that mix other than on set for the director/video village.
While it's true that in post sound we primarily reach for the ISO booms and lavs to do the dialogue edits, the production mix is still important for a few reasons. 1. The editor may not want to deal with 10+ channels in a polywav and therefore choose to do their edit with just the mix. This then puts a lot of importance of using reliable timecode and iXML metadata (scene/shot/take, channel names, etc) on set because post sound will need to use Pro Tools Ultimate/HD "Field Recorder Workflow/Guidetracks" to then rebuild the AAF or EDL so we can access those ISOs. 2. The PSM's mix on set is also what the director/producers/clients are listening to and unless you want them to constantly be asking about extraneous noises, off screen noises, etc then it should be mixed (or at least "auto-mixed" if we're a one-man-band/bag'n'boom). 3. Additionally, it's basically the sound that the editor and director will be listening to for potentially months to years while the film is being edited. If the mix is disregarded on set then we're basically subjecting them to a long time of unpleasant sound. 4. The mix is also the first interpretation of how the film can/should sound as we strive to preserve the organic performances provided, which is partly why the Production Sound Mixer is included when films win Oscars for their soundtrack because it is the material that all post will be working with. Simon Hayes (PSM for films like Les Miserables, James Bond, Little Mermaid, Wicked, etc) has some very passionate videos talking about this specifically.
Hi Tom, it's a great stuff, but can we go deeper? How to process them together eq, compress etс. Should I bounce them in one file to avoid some phase issues ?Working with one file is simple then two( automation, compression and eq) Thank you!
As always, great information!! It makes me feel better about my process since i do all the same things when cleaning up dialogue. Curious, in a situation like this, would you typically De-Reverb the Boom to help remove some of the "room" sound? Thank you!
Hello Tom. Great content, as always. I'm new to this area, and I'm investing time in learning and also some in plugins, etc. I would like to know if (actually, I think the question is "when") I should invest in Dolby Atmos and if it's possible to get by with just 5.1 for a while. It's a significant financial step. My focus today is similar to sound. Dialogue, foley adjustments, final mix - for TV series, small feature films. I think this topic would be interesting to address in the videos. Cheers!
Hey Thomas! Love your work and your videos. I have a doubt that has been bugging me for a long time. How do I get my final mix ready for delivery according to the spec sheet given by the post producer. And how do I do different mixes for the same session ie a theatre mix and a tv mix for the same project. Basically I have a lot of doubts regarding deliverables and loudness.
@@ThomasBoykin no i mean, are you always using boom and LAV together on every scene so you have to use auto align all the time or you are only using BOOM and when you need to use the LAV to fix something that's where you use auto align
Have you heard any talks about the ethics of using those AI voice cloners (we all know the one)? Depending on the client/actor seems like it could ruffle some feathers if it's not discussed correctly.
@@ThomasBoykin Weird, I can use CMD + 2 to De-click in RX 10 Advanced (Modules Menu) but I was never able to use just numerical numbers to trigger attenuate, replace or partials + noise. Any thoughts?
Tom. I’m not even remotely qualified enough to follow these tutorials properly, but they have always been the most thorough, efficient and comprehensive tutorials for audio I’ve watched on UA-cam. Please keep it up!
Thanks!
Thomas you are doing the lords work with all these videos. I’ve worked in audio post for three years and you have taught me so much, I can practically live off of it 🕊️
Man, this is so great, Tom. A fun tip I do with AAP2 is before processing, I'll just duplicate the playlist so if I run into any funky AAP2 processing bits, I can flip back and grab the RAW and then re-process or clean separately. Thanks for putting in so much work on these!
Yes, I almost always copy my edited tracks to x tracks before any audio suite malarkey.
love that you made this one. thanks dude! - Miles
Thanks Miles
Thank you so much. Without you I wouldn’t be able to do an audio post production in my university at all!
This is fantastic, the content recently has been amazing!! Thank you for all the work
Nice tutorial Tom! One small suggestion for all. Be always careful with non-linear phase modules in RX, used after or even before when AAP gets involved. Examples are: EQ, De-hum. I always double-check the potential phase shift by zooming in the waveform (if I am not 100 % sure).
Good tip. I usually re align after processing if things sound off
Thank you so much for very helpful tutorials! Your channel is a real gem!
Glad you like them!
Thanks for another helpful video.
When I encounter low to low-mid frequency bumps like the mic hit you cover here, one thing that sometimes works for me is zooming the vertical axis until I there is enough bandwidth between the harmonics of the voice so it resembles a ladder. Then I can spectral de-noise VERY frequency selectively, grabbing between each harmonic. Or I might use the gain utility set to -6dB and hammer away at it, bit by bit. It's not guaranteed to work but I've saved some takes that sounded unrecoverable at first.
Yes, ambience match can also fill the cavity
Thanks, Very usefull totorial !
Great video Thomas thanks, I think the shoulder twitching is really funny actually 😆not ridiculous at all! BTW I love to edit every click/pop and noise manually in Rx but it can get intense when you've got a lot to get through...
Yes but it’s still the best way
For sure!@@ThomasBoykin
Golden! Thanks a lot!
Tom is in it for the content, love it. Tom while on dialogue, is there one that you can share some insights on advanced ADR already (matching with on location recording)? If not, if you have the time, it will be awesome.
Good idea, I’m almost out of videos for this run
Hey Tom, thank you so much for all your videos! They've been incredibly helpful in improving my dialogue editing skills every day. I have a request - could you create another video that demonstrates a complete and pristine clean-up of the same sample? In our industry, mixers require both the Lav and boom tracks to be clean during the dialogue editing stage."
To get them squeaky clean you just need to overprocess them, which I don’t usually do. I would rather leave some noise in if the sound quality is better versus removing all noise for a more processed sound.
Do you think anyone uses the production mixers mix? I'm curious what the point is anymore of that mix other than on set for the director/video village.
Picture editor uses it
While it's true that in post sound we primarily reach for the ISO booms and lavs to do the dialogue edits, the production mix is still important for a few reasons. 1. The editor may not want to deal with 10+ channels in a polywav and therefore choose to do their edit with just the mix. This then puts a lot of importance of using reliable timecode and iXML metadata (scene/shot/take, channel names, etc) on set because post sound will need to use Pro Tools Ultimate/HD "Field Recorder Workflow/Guidetracks" to then rebuild the AAF or EDL so we can access those ISOs. 2. The PSM's mix on set is also what the director/producers/clients are listening to and unless you want them to constantly be asking about extraneous noises, off screen noises, etc then it should be mixed (or at least "auto-mixed" if we're a one-man-band/bag'n'boom). 3. Additionally, it's basically the sound that the editor and director will be listening to for potentially months to years while the film is being edited. If the mix is disregarded on set then we're basically subjecting them to a long time of unpleasant sound. 4. The mix is also the first interpretation of how the film can/should sound as we strive to preserve the organic performances provided, which is partly why the Production Sound Mixer is included when films win Oscars for their soundtrack because it is the material that all post will be working with. Simon Hayes (PSM for films like Les Miserables, James Bond, Little Mermaid, Wicked, etc) has some very passionate videos talking about this specifically.
I suppose for media where dual system sound is going straight to camera the on set mixing is even more important.
Hi Tom, it's a great stuff, but can we go deeper? How to process them together eq, compress etс. Should I bounce them in one file to avoid some phase issues ?Working with one file is simple then two( automation, compression and eq) Thank you!
As always, great information!! It makes me feel better about my process since i do all the same things when cleaning up dialogue.
Curious, in a situation like this, would you typically De-Reverb the Boom to help remove some of the "room" sound?
Thank you!
Nope, the older I get the less I process things. Leave the boom as is in most cases
Hello Tom. Great content, as always. I'm new to this area, and I'm investing time in learning and also some in plugins, etc. I would like to know if (actually, I think the question is "when") I should invest in Dolby Atmos and if it's possible to get by with just 5.1 for a while. It's a significant financial step. My focus today is similar to sound. Dialogue, foley adjustments, final mix - for TV series, small feature films. I think this topic would be interesting to address in the videos. Cheers!
Don’t worry about Atmos yet
thanks!@@ThomasBoykin
Would you suggest me an affordable 5.1 audio interface to start? Thx!@@ThomasBoykin
Great content 🙂
Glad you liked it
Hey Thomas! Love your work and your videos. I have a doubt that has been bugging me for a long time. How do I get my final mix ready for delivery according to the spec sheet given by the post producer. And how do I do different mixes for the same session ie a theatre mix and a tv mix for the same project. Basically I have a lot of doubts regarding deliverables and loudness.
I have some videos on these topics if you search
Almost feels like you could Lowpass the lav at 1K (or even lower?) and still get you half way there since you only want it for the body.
There are so many ways to combine mics, splitting them up with EQ is a great technique
Do you do the Auto align for each clips that got boom and LAV or when the boom is perfect you don't use the LAV at all.
Both clips
@@ThomasBoykin no i mean, are you always using boom and LAV together on every scene so you have to use auto align all the time or you are only using BOOM and when you need to use the LAV to fix something that's where you use auto align
Have you heard any talks about the ethics of using those AI voice cloners (we all know the one)? Depending on the client/actor seems like it could ruffle some feathers if it's not discussed correctly.
Yes, that was one thing the actor’s strike was discussing. Using ai to copy an actor’s likeness
Question about your shortcuts. Are you using 3rd party macros, or Izotope itself? Thank you so much for this workflow insight.
Just iZotope
@@ThomasBoykin Weird, I can use CMD + 2 to De-click in RX 10 Advanced (Modules Menu) but I was never able to use just numerical numbers to trigger attenuate, replace or partials + noise. Any thoughts?
great video!!