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Found 3 results

  1. I am relatively new to recording dialog voice sound for video with a DSLR. I am using a Zoom F8n and a Zoom F6 to capture sound independently to an SD and also patch it in to the camera. I have read the importance of room tone for use to repair splices in the audio (?). I am using Audition for editing of the WAV files and I am using IMovie on the Mac to edit video and rendering. Where can I find some examples of how room tone is used in editing sound preferably with Audition since that is what I am using for a DAW? Any recommendations on a good YouTube video explanation on it? Just a newbie, Jeff
  2. I'm currently learning the proper use of sound blankets and other absorbing material on set to deal with reflections. So far I tend to use quite a lot in most locations I get to, thinking that you can always add reverb in post, but not take away what's already there. When moving the camera I often have to remove some of the added blankets, carpets etc out of the frame, and put it somewhere else. Now, I have not had much experience of dialogue editing, but what little I had taught me that very little is needed to change the sound of a room. I was wondering if maybe moving around absorbers this way might cause some trouble for sound editors, or if the added intelligibility is worth it? Should you perhaps only use sound absorbers in places where you know they won't need to be moved during the course of the scene? In the end, maybe it doesn't matter, since repositioning the mics, lamps and people etc has a far greater effect. Also, If I may cut in another absorption-related question, does anyone have any good tip on practical materials used to clean up low end on set? Is compact, thick matresses the best bet?
  3. Buenos Morning! I'm struggling with a sound edit that I recorded in 12/10 that the re-recording mixer is previewing. We shot at a dilapidated cabin in the desert over four days; the cabin's windows and doors were missing, and so there was always environmental noise including heavy wind and rain. I thought I was being proactive by getting out to the location each morning before anyone else and recording large chunks of "tone" (with the same mic used during production) that I could lay down as a mono fill track, and that would capture a variety of ambient noise. The re-recording mixer looked at my PT sessions, and said I should have filled my DX with "tone from each scene" rather than "cut DX around the (chunked tone) ambiences". What was the error in my production strategy? Would it have been better to record room tone during each scene? How many times during a shoot at one location does one record room tone? Que tengan un awesome Saturday!!!
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