The Post Place
the section for everything relating to Post-Production
365 topics in this forum
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- 1 follower
- 6 replies
- 864 views
I ran a test to denoise my voice next to a siren with SpectraLayers and must say im pretty surprised how well it behaved carving out the voice and eliminating the background. SL is quickly becoming an addition to my post production tools (still find RX easier to deal with lighter cases of clicks and pops) Here is the video in case anyone is curious: https://www.instagram.com/reel/DUA2H0vDh1x
Last reply by Mattias Larsen, -
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- 4 replies
- 968 views
Working on a doc currently where they are not editing until all interviews are complete. I may have the opportunity to guide them into editing with my multitrack audio from the start to keep things tidy for me to also do audio post - depending on the editor and their particular workflow. Or worse case i can use software to sync my audio on the back end as i have done in the past. Just had a conversation with some editors about this and i am told, while a great idea on paper, most editors will not want to work this way. In almost 2026 is this still true? Curious if premiere can “nest” multitrack audio or something similar? Trying to give these folks some options while i ha…
Last reply by inspire, -
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- 10 replies
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With a small crew we produce a network reality tv show and do post production by ourselves, including audio (all for the sake of absolute efficiency in ressources). We have mostly dynamic scenes with 2-4 talents, 2 of whoom constantly raise their voice. Since we cover with multiple cams - one of which is almost always wide, and the fact it's mostly unpredictable who speaks, we boom very rarely. So we go with well placed lavs. Since the talents often stand in close proximity to each other and speak loud, the lavs of the ones not speaking pick up alot of the sound. I try to keep only one lav open at a time, but it's very time consuming when mixing, plus often near…
Last reply by Wandering Ear, -
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- 11 replies
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Project Clean Slate appears to let you easily do stuff like change speakers' inflections and words, do some extreme (demo) noise reduction, break a single video/audio track into stems, and change the emotion of VO. It looks like a late-stage research project right now, but I'll guess we'll see at least some of these features in Adobe apps in 2026. Not the only game in town, but Adobe's demo makes the tasks look simple and they can get this stuff into the hands of lots of people... "Editing dialogue just got smoother. Project Clean Take uses AI to correct mispronunciations, isolate voices, remove noise, and refine delivery—all in seconds. It’s a powerful assist…
Last reply by Philip Perkins, -
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Hello! I just had proxies made by an editor in Davinci and some shots synced to noise only. I don’t have any more specifics . I do have MOS footage. Could it be that? Thanks
Last reply by Bernice, -
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Howdy everyone, So I am working on a post project for a feature and I imported my AAF/OMF data from a file exported by Media Composer/Symphony (not sure which). The re-recorded ADR timing is out of sync so i was going to use elastic audio to stretch/compress the takes so they fit better to the movement of their mouths. So, I made separate ADR tracks and copied my ADR takes over to new tracks and tried to enable elastic audio. It gives me this message: Could not complete your request because an audio file on the playlist is unsupported for Elastic Audio Processing as it is read only... Any ideas on how to solve this problem? Any sug…
Last reply by pao, -
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When Track Names are provided on BWFP files, what is the procedure for the Post Production team to edit a misnamed Name section on the track Metadata? I do not know what program is being used by their team, but they can see the names and suggest they cannot make any changes to them after ingestion. Any suggestion for a hack or add-on for an Assistant Editor to make corrections somewhere in the workflow? Cross-posting in the The Workflow section.
Last reply by Daniel McIntosh, -
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Hi everyone, I’m a location sound mixer using a Lectrosonics SRC + HMA Plug-On setup. I’m also using iZotope RX10 Advanced for post cleanup. During an indoor shoot yesterday, I placed a microphone close to a ceiling-mounted pinlight (not part of the lighting department's gear — it was part of the building). In the recording, there’s an unwanted electrical interference that appears in the 2.12s to 3.05s section, likely caused by that light fixture. I’d like to know if this can be cleaned up or repaired using Spectral Repair or any other RX module. If anyone has dealt with a similar issue or has tips for repairing this kind of noise, I’d be really grateful for y…
Last reply by inspire, -
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Sorry if this is common sense, or something often talked about that I'm not searching for correctly, but I figured I'd just take a stab and see if I can get some opinions... I typically do a lot of post work for the short films that my company produces - just comes with the territory. In the past, not having a timecode recorder I would create new master video files after each shoot, creating files with the 2nd system audio built in with the video track - time consuming but it worked. Fast forward to now - I have a 664 and we shot on a Weapon and everything was in TC heaven... so now what?? I've been told the whole point is so that editors can take the came…
Last reply by dslrshooter, -
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- 24 replies
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I'm wondering what the generally agreed upon dB level is for the music track itself in a music video export. I've seen other reports of the -6 to -12dBs range and that is what I have done before. On our first mix, I had the music track set to around -6 to -8 dBs and that seemed to sound alright. There are also short non-music sequences with location sound at the beginning and end that are mixed to normal standards so the music track at -8dB properly stands out (and provides an intentionally abrupt, but not too jarring volume change). The mastered music track from the artist comes in right at 0/-1dBs and he seems adamant about keeping it that way so as to "not…
Last reply by inspire, -
- 1 follower
- 8 replies
- 5.3k views
Checking out adobe podcast for the first time. What vudu is this? Has anyone incorporated running every file thru this for their post workflow? Would love to hear experience using this. Is there a point to turning of AC during production anymore with these AI dark arts?
Last reply by Olle Sjostrom, -
- 2 followers
- 3 replies
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working on a trailer for a doc and ran into this issue (also ran into it back in mid december '24) curious if anyone has had a fix? we are making it by with multitrack .wav exports but if this was the whole feature length doc i imagine it would be a solid nightmare. embedded or sep files, omf vs aaf seem to be no difference. Comments on issues still as recent as 6hrs ago: https://community.adobe.com/t5/premiere-pro-bugs/broken-omf-export-repeats-audio-clip-on-track/idi-p/15030720
Last reply by osa, -
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- 1.3k views
Acon Digital is having an end-of-the-year sale: https://acondigital.com/store Here's the link to their Acoustica products: https://acondigital.com/products/acoustica Lots of chatter about these elsewere, but I'd like to know: If you have used Acon's software, what did you think of the tools? thx
Last reply by Jim Feeley, -
- 1 follower
- 6 replies
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I have an editor friend whom i do production sound recording for on projects as well as audio post with pro tools. in a perfect world i get pic lock and audio post as one normally would. Lately he is getting projects where he wants to present to client as "this is what it could look/sound like" and we are struggling finding a modern workflow to make both audio and video changes along the way as client makes decisions. I used to have great success with EdiLoad to track changes but the different worlds of video edit and audio post seem to always work against me. Is a possible solution for this - I subscribed to adobe to get Premier or Audition and work with picture edit in …
Last reply by jozzafunk, -
- 4 followers
- 27 replies
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I'm curious to hear from anyone with experience with this. Last time I worked (1.6 years ago) there were no AI plugins. Let's imagine a ratio between the best of what was painstakingly done by humans before the strikes, and these same humans now, with AI help. Obvs the AI will save human hours, but can it also do things better than a human, in minutes? Can AI help to make crap sound become good sound? If anyone has experience, I'm curious if the AI is more or less effective with different noises. Things like: Genny rumble Riverboat engines Air handling Machine noise People noise (talking off-mic, laughter bursts, etc.) …
Last reply by Patrick Tresch, -
- 1 follower
- 23 replies
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Howdy everyone, Soooo, I'm still working on that WWII movie and am pretty close to completing. however, I just hit a scene with some extreme closeups and I can hear the camera's motor/film sound pretty well. I seem to remember back in film school they used a blimp/barney to dampen the sound but I'm pretty sure they didn't use one on the shoot. I've created (more like hacked together) some Room Tone so I can cut in and out between dialog bits, but it feels clunky. Then I got thinking about it more and was wondering what the big post guys do when they want to remove the camera's mechanical sound? Short of ADR which I suspect the director would probably no…
Last reply by minister, -
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Do people use any cloud services these days for clip gain / levelling ? and other repetitive stuff For some podcasts I've been using Auphonic over sending the clips to iZotope or Pro Tools local route I imagine a lot of these desktop apps are going to disappear and everything's gonna be a subscription 😬
Last reply by minister, -
- 1 follower
- 2 replies
- 1.3k views
I'm having issues syncing audio and video in Premiere Pro that was jammed with a Deity Timecode box. On set everything seemed fine. The recorder was a Mixpre 6ii and camera was Alexa Mini LF. Any advice would be great beyond the Deity tutorial information!
Last reply by Bouke, -
Hey all, Just finishing up a project working with presumably 1/4" / reel archival Ram Dass recordings. The recordings are from over the years (but all very old), so: different tape machines, microphones, environments and subsequent reflections, and varying degree of ambient crowd noise. Overall I've gotten great results except for one in which the tape speed was unacceptably sped-up and therefore high-pitched. Using pitch and time correction of 92% I have RD back in his register, but with the slowdown, now he sounds gravely (or as the client keeps saying--robotic). I have done everything I know possible with EQ & comp / limt. etc, as well as trying ev…
Last reply by Daniellow, -
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It's 2024 and I can't revive any of our old DA-88 machines that sat in storage since 2000. Our engineering department no longer works on tape machines so I'm out of luck there. I have some tapes that need digitizing but I can't decide where to send them for digitizing. Any recommendations? Thanks.
Last reply by Werner Althaus, -
- 3 replies
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Hey all😄, I am working on an indie film project as the Sound Editor and re-recording mixer. It's a dramedy with all original music including some punk, choir, and classical music. This is my first time mixing in surround. I've spoken to the composer about receiving a Pro Tools session of mixed stems when I was originally mixing in stereo but the added surround element is confusing me. I was wondering about the deliverables I should ask from the composer so that I have leg room to adjust the panning of instruments and reverb panning of their mix. Should I ask the composer to only use 5.1 plugins? Should I ask them to pre-mix the choir or classical music as they …
Last reply by Philip Perkins, -
- 2 followers
- 4 replies
- 1.8k views
Does anyone use a thumb trackball mouse doing audio post that you might recommend that works with Monterey and above? I recently upgraded and seem to have lost my precision movements on the track ball with the Kensington version that I have. I have a feeling they’re software for Apple might be finicky on this operating system
Last reply by codyman, -
- 1 follower
- 12 replies
- 4.4k views
Curious if someone might help me understand the pro's n con's of OMF vs AAF imports in pro tools. I have been using OMF for ever out of habit. Always encapsulated to keep things organized, and it would work perfect for my purposes except for a few occasions where the material is larger size and I would request separated - but this made things slightly difficult where I would have to manually connect the data which was a bit time consuming but worked in the end. Recently an editor I have been working with was sending me AAF's. Worked extremely well although contained a video track that would give me problems but I would just skip it on import and bring in video manually wh…
Last reply by Philip Perkins, -
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- 2.2k views
It seems current versions of PT '21 work under Rosetta 2. But I can't find any info with regard to Izotope under Rosetta 2 on an M1 mini other than "not compatible with M1..." Is anyone using this combo?
Last reply by D Clay Audio, -
- 2 followers
- 21 replies
- 27.8k views
Hi y'all! So I left the movies for radio, but still I keep using wireless mics and recording stuff outside, as if it were a movie shoot (but without the cameras). And in post, I still use the same tricks. However, I stumbled upon this little plugin called Goyo, which is a noise and reverb reducing plugin using AI in some sense. GOYO Voice Separator | De-noise, De-Reverb, De-Voice - All in One Plugin Quick review: It does what it says. I hear artifacts if I crank it hard enough. It's great to be able to just turn the BG down a tad, and then I can hardly hear the artifacts. Especially not if I'm imagining sitting in a car or listening in headphones on the subw…
Last reply by osa,
