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Izotope says RX5 coming in October


Jim Feeley

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RX 5 Advanced Audio Editor Highlights

De-plosive: Instantly eliminate every single plosive from any dialogue track, with total transparency. This is an industry first

Leveler: Automatically creates a clip gain envelope to smooth any volume inconsistencies with the Leveler. Optimized with intelligent De-breath and De-ess algorithms, the Leveler automatically detects breaths and esses in a dialogue take, then applies transparent clip gain adjustments. This is an industry first.

 

RX 5 Audio Editor Highlights

Instant Process tool: The one-click magic eraser for your audio. From unwanted cough to scene-interrupting siren, instantly paint away any audio problem directly in the spectrogram timeline.

Module Chain: Remove distortion, clicks, interference, background noise, smooth out inconsistent volume and ambience….all at once! Whatever the multiple editing tasks you need done, they can now be accomplished in a single mouse click that fires off all of your edits.

Seamless Integration: Sync and integrate the power of the RX Audio Editor with any audio and video editing software timeline using RX Connect. Clip-by-clip and handles support added for the most efficient Avid Pro Tools post production workflow available.

De-reverb: Reduce some of the reverb from a recorded space in order to make the dialogue useable. Salvage recordings of dialogue containing too much reverb/acoustic space without needing to spend time/money on a reshoot or ADR.

izotope-rx-5-advanced-audio-editor-overv

 

More info on features, pricing, promos, etc here:

https://www.izotope.com/en/products/post-production/rx-5-audio-editor/

 

 

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I hope they improve the enature suite.

I just had to inform another dialog editor on a show I just started mixing, to stop using it. 

 

Interesting... all the mixers I work for say they really appreciate my usage of RX 4 to taste. When they hear the original production clips (regions) they are happy that I took the time to de-click, spectral repair anomalies (i.e. plosives, lip smack, etc). Curious what your dialogue editors are doing that causes introduction of artifacts. are they de-noising the entire files? De-noising prior to DX predub is a no no unless absolutely necessary in order to make any sense of a noisy scene where the dialogue is hardly audible, and quite frankly will most likely be ADR any way (always saving the original below).

I'm interested to hear what your dialogue editors are doing that frustrates you.

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Declicking entire regions,  and denoising.

Both result in boxy sounding dialog wit a loss of presence.

 

Wow, I agree -- that is way too high. I typically record with a roll-off at about 80Hz, but not more than that. What do you guys normally use on the stage?

BTW, Mark, I'm watching The Last Ship and the sound is tremendous. You guys are doing a bang-up job -- really excellent work. Both sound and cinematography are as good as it gets on television, IMHO. 

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A little goes a long way.  NR still has to be used very sparingly, best in several iterations with comparison listening between (so you can hear if you are improving your clip into a ruin).  But Spectral Repair is very very helpful….  It's important to remember that this tool is not a way for you to work faster, it's a way for you to do fixes that can't be done any other way.

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Declicking entire regions,  and denoising.

Both result in boxy sounding dialog wit a loss of presence.

I'd be very curious to hear from Mr. Hensley if RX5 overcomes the problems of RX4. I only just got RX5 recently and haven't used it on a project yet, but it looks very solid and capable.

I've heard some awful stuff on TV where they were clearly recording under dire situations -- like in the middle of Times Square or by a railroad -- and the gating/ducking effects were pretty horrific. In cases like this, I'm baffled why the producers don't just use better judgement and ADR the scene, or at least the worst of it.

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I'm baffled why the producers don't just use better judgement and ADR the scene, or at least the worst of it

 

If ADR were automatic -- if you could just press a button and the new sync track would appear, no time or cost or actors' hassle needed -- producers would love it. 

If ADR were replacement -- if it created dialog that perfectly replaced the production tracks -- posties would learn to love it.

N/r plug-ins are more or less automatic and essentially free. Producers love them, or at least the magical idea they promote. Unfortunately, if you don't tune the plug-ins right or you ask them to do too much, what you end up with is barely dialog.

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