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jgbsound

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  1. jgbsound
    Thanks Jose, I just downloaded Walter Murch's paper. I'll read it a few times to absorb as much as I can. John
  2. jgbsound
    Yeah I kinda figured this was the case, but just as a conceptual overview I was wondering what books people have read that they got a lot from. But ultimately I'ma need to find me a good re-recording mixer and sit in on the mix. But in the meantime, I'll need to dig a hole, then using a box with a stick and string attached Now what to use as bait? Some kind of fast food...
  3. jgbsound
    Hey Everyone, So I've been reading a lot of books of late about all the "below the line" operations, including Both editions of Purcell's dialog editing books (the 2nd edition is quite insightful about more specialized tasks like BNR, ADR, and treating dialog to give it that extra pop), Rich Tozzoli's Protools Surround Mixing, Holman's Surround Sound But final layback is still a black box mystery to me so I'd like to read more about the techniques they utilize. Can anyone recommend a good practical guide to rerecord mixing? Thanks!
  4. jgbsound
    Got it! Thanks everybody :-)
  5. jgbsound
    thanks Henchman, not in any hurry yet. Ill keep doing fixes to other parts as I'm prepping for the final layback. I think I'll save a tester and just do it and see what happens. But if there is a parameter to set prior to moving stuff I'd certainly like to know about it. And thank you all for your input(s). If you think of anything more keep 'em coming. More info is better than pounding my head on the edge of the desk after :-) J
  6. jgbsound
    Thanks. Actually it's a simple removal of one scene, then the cutting and pasting of a difference scene from another section of the movie. There are some transition wipes SFX (it's a comedy) that happen between scenes that I'll have to deal with manually. The edit (my edit) is already done and finalized. We're well into the post process so everything is in place, and pre-mix dialog, EQing, verbs, etc have already been put in place. The actual movement of region data in the tracks seems pretty straight forward. My biggest concern is the movement of my automation. All the automation sits in the AUX track (for example, all the dialog tracks are bussed to the DxAUX. This has all my EQing, Altiverb, etc in it). If I include the AUX track in my move (done by selecting the group), will the automation move with it or is there something special I have to do to get all my automation data to move?
  7. jgbsound
    So I've been working on a feature that had been print locked for a while now, and they decided to cut one entire scene (let's call this SceneA) and then, move another scene (SceneB from a different location to plug the hole where Scene A was. I asked for the In/out points on the timeline and the order (sequence) in which they made these moves. I'm assuming the timeline (frames) will shift when they delete Scene A, and again, when they Cut and move Scene B, so the exact IO points will be necessary in order to replicate what they did. Does anyone have any experience with this sort of thing? Ideally I'd like PT10 to behave more like a non-linear editor -- in mark/out, then select the range, then use the shuffle mode to just scoot stuff around. I have the tracks Grouped According to stems: (Dx, ADR, SFX, Mx and their AUX's too) so if I select all the track groups, I'm assuming that moving everything will move including my automation? How do you do this? Any advice would be truly appreciated!
  8. jgbsound
    Thanks Marc, I'll keep an eye out for the new edition of John Purcells book! The previous edition has been invaluable to me. I should probably qualify my earlier comment by saying that I do roll off the high end, but only when needed. I'll look into RX2's dynamic filter more. Thanks for the tip. And thank you all for the suggestions so far! J
  9. jgbsound
    Thanks gents. I've got it massaged pretty well so far but I think it needs that little extra love to help with the background noise. I do eq to roll off high and low frequencies and I bump up a little bit Right around where the dialog sits so its more intelligible. Any stray (hummable) frequencies I notch out of course. So what settings are you normally setting your c4 to? dB reductions, triggering thresholds, attack times, and releases? John
  10. jgbsound
    So I have a feature that has a fair bit of outdoor shots that were filmed on location at a catholic school on E Colorado with traffic driving by. They won't ADR so I'm going to try and do a little multiband expansion to tame that noisy beast. i also have run rx2 on a few of the noisiest sections to try to at least get the noise floor to match a little betters making other fades between cuts a little more seamless. Now I've never really used waves c4 so I'd appreciate some general tips you guys have for me. Tell me how you like to use this tool?
  11. jgbsound
    PT11 no longer supports CPT. if you have it now with 10 and upgrade to 11, you are back to stereo and no AAF/OMF functions. I just talked to my Sweetwater rep and they have a dedicated AVID guy who works with them. Word on the street is, if you have 10 and the CPT (as I do), then they will offer you an upgrade to 11HD for the standard upgrade price (still to be determined). That said, my convolution reverb (Altiverb), all my Vienna Strings Library, and other plugins that I need for film stuff won't be useful for quite some time. It seems like AVID is pushing this one out the door without any regard to their customer's needs AGAIN. Is this the fateful release party that will cripple AVID's stronghold on the post market? I guess that AVID is aware that many people won't be able to use their favorite RTAS plugins. As such AVID is allowing both 10 and 11 to be able to run on the same system until such time as they are able to get all developers on board to support porting to AAX.
  12. jgbsound
    Marc, Ha! You have no idea how time consuming this one has been. The guy is super smart, that's for sure, but he fills any gaps (when he doesn't know what to say), with whatever happens to spill out of his head. If he'd just pause, think about what he's going to say, then deliver the line with only a few um's or two here and there. I could die happy. Well here's gettin' back to it. Thanks for the support and advice everybody!!! John
  13. jgbsound
    Thanks Marc, For my purposes just a consolidated region that uses my fades and cross fades will do. No effect processing is required. The company preprocesses all the VOs with noise reduction and then hands them off to me to trim and massage into studderless, de-"um" narrations. After ProTools, I take them into Premiere and tighten up the video. Pretty easy but dull work. Thanks for all the input guys! John
  14. jgbsound
    Thanks dfisk. My question wasn't so much what consolidating regions does, but rather - was there a difference in quality between the rendered (consolidated) file and bounce to disk. I think everyone is in consensus that they are both the same quality-wise. John
  15. jgbsound
    Thanks Max I do print stems onto record enabled tracks for feature films. However, this is a simple single line edit. Then the file has to go into a video program. Speed is of essence and I don't need anything but that single line of VO. I think you answered my question. Thanks!
  16. jgbsound
    Hi all, So, I'm editing VO for some instruction industrials for the web. I'm using PT10 native to fix the dialog (removing ums, repeats, lip smacks, and such, but it's too cumbersome to actually bounce to disk for each of these regions (being that native does it in realtime only). So I've been consolidating the region, and the resulting file that shows up in the project's audio files folder is what I wind up importing into my video NLE. Does anyone know: is the quality lower on consolidated regions or the same as when you bounce? I don't think it necessarily matters for this application but it got me wondering about my feature film mixes and consolidating regions within my project, where sound quality is much more important. Thanks for your help! John
  17. jgbsound
    I think the newest version (7) will be able to create your own IRs on the PC side. For AV6 IR creation, however, there is a cheat; You can ask Audioease to provide you with the sine sweep audio files, so you can record your own IRs, and AV6 will analyze them for you in order to set up all the parameters needed to function properly. That said, I have yet to record my own IRs so I can't vouch for this ability. But its in the manual so I'm assuming it functions properly.
  18. jgbsound
    For lack of a better description I guess I meant that the dialog doesn't sit on top of the mix so much. Feels like its coming more from inside the environment space.
  19. jgbsound
    Actually I should have been clearer myself. I too have altiverb 6 for PC as well.
  20. jgbsound
    Thanks Olle, Ideally a sine wave sweep would be ideal but I only have a clapper approach to work with at this point. But in the future ill be mentioning this to producers. John
  21. jgbsound
    That's f-ing brilliant! I never thought about that!!! Ooh now I gotta experiment with this idea. Thanks Vasileios
  22. jgbsound
    Do you guys have any favorite Altiverb tweaks you do in the dialog mix? I've been working on this feature and use it quite a big to help get the dialog cuts to blend better as well as giving it a better, more cinematic feel within the room. But I always wonder if there's something I could be doing to help make it even better so I thought I'd ask people smarter than me! Thanks for any advice you can share! John
  23. jgbsound
    Thanks for everyones input! All this has helped me to understand that my desire to create the surround mix may actually not what I need to focus on at this time. As Marc W had mentioned and i had came to realize early on is that a stereo mix would be best for the festival mix mainly because I have no way of knowing what kind of playback systems will be encountered in the different festival venues. I had planned to do a 5.1 for the distributed release (I don't think this will get a large theatrical release) though I have several months before that will come up. I hadn't really thought past that point to be honest. As others have suggested, just outputting the 5.1 stems (Lft, Rt, Cen, LSurr, RSurr, LFE) will do for now. I'll also check out the surround books mentioned too. John
  24. jgbsound
    No space isn't an issue. I guess I thought that you needed the encoder to actually create the datastreams. Am I wrong? If PCMs are the way to go, what's the workflow for creating that? Is is a simple as creating stems for each audio channel (Lft, Rt, Cen Sub LSurr RSurr ? Forgive my ignorance but what's the advantage of using something like DTS then?
  25. jgbsound
    So I have a project coming up in a few months (probably more like 6), that will require at least a 5.1 surround mix. I have Protools 10 native with the Complete Production Toolkit unlocked. I want to be able to encode the data stream for a blu ray and for a DVD as well. I see a bunch of encoders such as DTS encoder, Neyrinck Soundcode for DTS, Neyrinck Soundcode for Dolby E, etc. Bear in mind I know very little about the plugin I need to select (I have only done limited surround mixing in my past. Thanks for any suggestions you can give me.
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