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Showing results for tags 'postproduction'.
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My story made the front page of Buzzfeed about an hour ago, just below the Disney Princesses. Their reporter summarized it nicely for non-engineers and added some expert confirmation. I am now officially an "audio geek" and preparing to enjoy fifteen minutes of fame. But, alas, Buzzfeed said it was against policy to include my CAS credential... This link goes directly to their article.
Audionamix's TRAX Pro SP and the Dialog Isolate module in iZotope RX6 are kind of amazing: they use Neural Networks to clean up production tracks in ways we've never been able to before, and they can even give you a stem with the stuff they took away from dialog (like a clean bg track, or just the environmental music). Far better than any of the multiband expansion noise reducers or other algorithmic techniques we've been using for a couple of decades. They can also seriously screw up your track. Just like any other processing. Both manufacturers graciously gave me large chunks of Skype time with their senior developers, so I could write an article about the techniques for CAS Quarterly. The article appears online today, and will be mailed soon. We've also posted a web page where I've put downloadable samples of actual processing of production elements. (If you do the web page, please download the AIFFs. The posted mp3 files are just for orientation, and distort some of what the processors are doing.) Fellow CAS member Stephen Fitzmaurice added a sidebar with initial impressions of the Audionamix in his mix theater. Detailed reviews will be coming in a future issue. Article is in the Quarterly at cinemaudiosociety.org, or as a downloadable pdf at jayrose.com. This stuff has been blowing my mind. Please comment. (On the technique, not on my mind; that's a lost cause.)
I was watching one of this year's screeners last night, on a calibrated system in a good room. In one scene of this action/drama, the protagonists are walking through a clearning in a large forest. There's a lot of snow covering everything. There are no mountains or large buildings in the scene; presumably from the plot, there aren't any nearby. One of our guys hears the enemy's voices, coming from the side. They turn around and spot the enemy party - maybe half a dozen men - a great distance away. We hear the enemy soldiers' voices at a reduced volume but clearly, and with a lot of complex interior reverb. If any exterior shouldn't have reverb, it's this one. Snow sucks up reflections, and the only things that could have been reflecting sound were tree trunks. Long distances in air cause high frequency attenuation from friction, which is why very distant thunder rumbles rather than claps. Perhaps the attenuation wouldn't have been as great as usual because the cold air was denser than normal... but there'd be some. This wasn't a case of an unrealistic effect being needed because reality sounds strange, like the necessity to sometimes put a 'whoosh' under a rocket ship in a vacuum. (Or to ignore the speed of sound [in a vacuum?] when blowing up a planet.) Level and eq could have sold the distant dialog, just like it does in a lot of other films. So, soundies: 1. Is exterior wet reverb (as opposed to a few distinct slaps from buildings) becoming the new normal? Are we back to the early days of talkies, when outdoor dialog was pushed through the studio's echo chamber because "everybody knows there are echoes outdoors"? Are there other current examples? 2. Has this come up when you're mixing a film? If so, what was the discussion? What arguments did the director have other than "just do it"? 3. Or am I a curmudgeon for still believing in physical laws?
Hi guysI'm doing some research on Foley for visual media for my final university project. If you have a couple of minutes could you fill in my questionnaire? https://www.surveymonkey.co.uk/r/MNBFGPQCheersMartynhttp://www.mgreenaudio.co.uk