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Showing results for tags 'reverb'.
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Roof treatment in bad acoustics
micke posted a topic in General DiscussionOne room in a location was a quite high, shoe box shaped room, dreadful acoustics. 500 helium balloons, and it turned out really nice! Became the best room on that location. Our sound team were ready for some really bad jokes if it would have backfired;) The balloons arrived pre-filled and with some coating that makes them last for a week. We saved three clusters so we could move them easily to other rooms as well, did good in the corners. And they were.....cute.
As convolution reverbs become increasingly common and affordable, it seems this is where the future of post-sound mixing lies. With that in mind, should production sound mixers be integrating IR recording into their workflow? How many prod. sound mixers out there have already integrated impulse response recording into their workflow on-location, or have ever done it at all? How many post-prod. sound mixers out there wish there were more PSM's doing this? Do you use convolution reverb? Would you use it more if more recordings were provided? From what I've read around the web, it seems like convolution reverb is mostly just being used as a "fix" to match ADR with production dialogue, and not more generally as a standard mixing step (but maybe it's being used more than I realize?). In which case, if the PPSM's don't use it, no reason for the PSM's to bother. To me, it seems that the practice of recording the IR response of a space should be as standard and ubiquitous as recording room tone. Of course, post won't necessarily need to use it, but sometimes the same can be said for half the production dialogue anyway. Assuming you've got a workflow you're comfortable with, recording the IR should take about as long as recording room tone, so you're not taking up an exorbitant amount of time, <2.5 minutes for both IR and room tone (unless, of course, the AD/director/producer isn't even willing to allocate time for room tone, which is a sad reality of many productions). Sure, there are IR libraries, but I would compare a library IR to a library room tone loop: you can generally get away with it, but that doesn't mean it couldn't be much better with an authentic recording from the location. Should PSMs treat IR recording the same way they treat room tone? Maybe my logic is naïve, wrong, or extrapolating too far. Let me know what you think!
Hi Everybody! I'm working on an indie WWII short movie (40 minutes) post mix and have quite a few gun, rifle, and munitions SFX involved. I was hoping to create a rear channel slap back echo to mimic what you'd hear if you were in a canyon say and the sound trails off into the distance. I tried simply running it through Altiverb and editing out the beginning of the clip, then mapping the reverb tail to the back channel, and it worked (sort of). It sounded okay, but I'm pretty sure it could be better. Then I tried switching it up and tried used Space, then ReVibe (which did get it closer but still not satisfying) Does anyone have any suggestions/ideas on how best to achieve this sound? I wonder how do the big guys do it? It's a single shot to the head, execution style. I was planning to have a startled flock of birds fly off afterwards! I do have a DPA 5100 and could record the sfx myself, if need be. But I'd need to travel to the mountains to do it and find myself a luger since this guy is a WWII buff and would only want an authentic sound. Just hoping I can create something digitally. War is hell but editing the SFX is pretty friggin' fun! Thanks in advance! John
"Secret Weapon" For Rooms With Reverb?
Doug Osborn posted a topic in EquipmentI've been using a Schoeps cmc641 and a Schoeps cmit5u as my "go to" mic's for the past four years. Great sound and happy clients. This week I've had two back-to-back jobs with rooms with lots of echo. One was a large storefront with concrete flooring, 24-foot high metal ceiling, and all glass windows at the front. It sounded like a cavern. I hung half of my sound blankets and put the other half on the floor and ended up using a DPA 4061 lav for most of the shoot, then used the cmit5u and DPA 4061 lav for one segment. Today I had an interior shoot in a house with 9 foot ceilings and hardwood floors. I got to hang a few sound blankets but could not place any sound blankets on the floor due to the wide shots. I tried both the cmit5u and the cmc641, but both were too "boomy" for the producer. He had a Sennheiser MKH 60 on hand so I threw it up and I was surprised at how much of the ambient room noise was tamed. I know there are no easy answers for this situation but does anyone have experience with particular mic's that have helped out on interior shoots with excessive ambient noise and echo? I've researched as much in the forum as I could locate as well as contacting some trusted colleagues. I'm really not in the market for another mic. I'm a firm believer in not buying anything until I need it. But If I had to pull the trigger on a mic today--if it would help in this sort of environment--it would likely be a Sennheiser MKH 50 if it performs as well (or better) as the MKH 60 performed on the shoot today. Would like to hear of any mic's that have performed well for others in this situation.
Unveil - 'unreverberator'
nhaudio posted a topic in The Post PlaceAnnounced on the 26th. I'm pretty impress with the amount of flexibility we're getting these days. Announced that it will lower the reverb in mono or stereo /track/mixes. I've downloaded the free trial. http://www.zynaptiq.com/unveil/