How can i make my audio sound more consistent though out the film? I saw the extra features on Donnie Darko and the deleted scene's audio sounded much like mine, how do they make it so that every take sounds the same, as in the abient noise. I edit with Final Cut HD, any suggestions?
General Questoins about Audio
- Thread starter iuhoosier336
- Start date
Like you, I cannot afford hours of ADR. So I make sure I get great production sound. As long as the original tracks are clean it's easy. Assuming that you don't have clean production tracks, FCP doesn't have good enough audio cleaners to do much good. It is - after all - a picture editing program.iuhoosier336 said:
ProTools is the program I see often. It's the program my sound guy works on. Even then, there's only so much you can do it your dialogue tracks are filled with hiss or hum.
But the main thing is to get clean dialogue tracks with little or no background noise. A good mic and boom operator can make this posable even on no budget. I do everything else - footsteps, clothes rustle, ambient sounds (crickets, water, wind), sounds of props (doorbells, ice in a drink, setting something on a table) - on separate tracks.
I know these might sound like really obvious questions, but
1) Are you using a sound recordist, who is monitoring the sound throughout the recording to make sure the sound is clean?
If the answer is no, then at least 90% of your problems can be solved by doing that.
2) Are you using a good quality directional mic, on a boom pole for your dialogue and doing close ups on all your dialogues so you can get the mic in close?
If not then that will make most of the rest of the problems go away
3) Are you taking a 30 second wildtrack audio recording of every location you film at to loop under you edits to cover any changes in the ambience on the edit?
If not, that should fix the rest of your problem.
The truth is that audio is more difficult than visual in filmmaking and a good sound recordist is worth whatever you pay them to work with you, because nothing ruins a film more completely than poor quality audio. There just isn't any way to cover those kinds of mistakes in post.
I second that. And isn't it ironic that there are generally only 2 audio guys on a set at any given time, yet there can be a half dozen or more people in the camera department. My advice would be pay for a sound mixer in production so that you don't have to pay more for a sound designer in post. You might still be able to get the services of a sound designer for cheap, if you explain that you’re an independent filmmaker and you can wait as long as it takes for them to finish fixing your sound in their spare time. I have found that most audio post guys are very busy, but that a lot of the stuff they do is commercial and lacks creativity for them, so sometimes you can negotiate something if they like your work. There’s no harm in asking and what they can do for your sound, will make a world of difference.
Anybody for Looping?
Greetings Fellow Posters...this is my first post.
I sorta feel at home here, and want to add some insight to this audio dilema. I worked in the first digital mastering studio in the Dallas area some 18 years ago and learned a lot about looping for near-perfect movie audio fixes. Clive hit the nail on the head about recording wild sound on EACH set or location you shoot on. Then, once in the studio, you can use it if needed as the the actors loop their lines while watching the video on a screen in the booth. It has to be one of the best ways to get really yummy sound--both from the talent and from the ambient you pick up while on-location. Gone are the days of really bad audio with unexpected location sounds like car crashes/horn honking, jets/helicopters overhead, construction noise, and idiots who like to yell and create a ruckus just for kicks. I don't guess anyone on this forum has had the luck of hiring an audio recordist that LOST THE REEL after the shoot?? Naaaa, didn't think so. <g>
Next to that, a good AT shotgun mic on a boom is worth its weight in diamonds...with a trusty Mackie 1202 by your audio person's side to tweek the incoming. I got hooked on Mackies many moons ago when an audio guy showed me how rugged and reliable they were. I watched his fall from 4 stories up off a scaffolding he was perched on while getting audio from a set. That thing still works to this day, and didn't suffer much other than a few dents. It was amazing!
I have to say that I've learned a LOT from all of you, and really enjoy going to your sites. (Hi Clive! Hi Katie!) Keep up the great chatter and thanks a million for all the great tips and ideas! Catchya laters on da flyby ~SteVon
Greetings Fellow Posters...this is my first post.
I sorta feel at home here, and want to add some insight to this audio dilema. I worked in the first digital mastering studio in the Dallas area some 18 years ago and learned a lot about looping for near-perfect movie audio fixes. Clive hit the nail on the head about recording wild sound on EACH set or location you shoot on. Then, once in the studio, you can use it if needed as the the actors loop their lines while watching the video on a screen in the booth. It has to be one of the best ways to get really yummy sound--both from the talent and from the ambient you pick up while on-location. Gone are the days of really bad audio with unexpected location sounds like car crashes/horn honking, jets/helicopters overhead, construction noise, and idiots who like to yell and create a ruckus just for kicks. I don't guess anyone on this forum has had the luck of hiring an audio recordist that LOST THE REEL after the shoot?? Naaaa, didn't think so. <g>
Next to that, a good AT shotgun mic on a boom is worth its weight in diamonds...with a trusty Mackie 1202 by your audio person's side to tweek the incoming. I got hooked on Mackies many moons ago when an audio guy showed me how rugged and reliable they were. I watched his fall from 4 stories up off a scaffolding he was perched on while getting audio from a set. That thing still works to this day, and didn't suffer much other than a few dents. It was amazing!
I have to say that I've learned a LOT from all of you, and really enjoy going to your sites. (Hi Clive! Hi Katie!) Keep up the great chatter and thanks a million for all the great tips and ideas! Catchya laters on da flyby ~SteVon
Headed for da Barn!
Thanks Poke!
I shot digital video for 9 hours today with 15 minutes for 'lunch'! Haaah! My eyez are a-crossin right bout now. Luckily, someone else got the edit job, but I've gotta do the finals and then re-edit 4 different versions of 4 shoots into english and french titles and subs. Yick! Not a fun documentary, but it pays the bills. Laters!
~SteVon
Thanks Poke!
I shot digital video for 9 hours today with 15 minutes for 'lunch'! Haaah! My eyez are a-crossin right bout now. Luckily, someone else got the edit job, but I've gotta do the finals and then re-edit 4 different versions of 4 shoots into english and french titles and subs. Yick! Not a fun documentary, but it pays the bills. Laters!
~SteVon
I spent the day sucking up to Politicians and getting broll of the Senate Finance Committee and the House Appropriations Committee.
It's a charmed life.
Poke
It's a charmed life.
Poke
