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i disagree with the concept of doing only a little bit of compression. i would use several compressor until no sylabe is louder than other. i find very rude when movies uses dynamics instead of even homogeneous sound. if somebody is screaming, sorry but will have same volume as whispering. i am not going to blast my ears with explosions or suddenly surprise loud noise frightening causing heart attacks. no way. use 6 compressor to tame their mess. on youtube, on vlc, whatever you're watching, don't accept their dynamics, they don't care about the audience, it's the ego, and as a consumer i disagree with their dynamicrange

Thank you

Great. Those renaissance plugins are top notch

Good stuff. Pretty much what I’ve been doing for years, so good to see other Pros use a similar approach

what about reverb for foley or adr? compression for reverb? would be interesting

Thank you

Even though I'm not going to use this information for tv and film this is exactly the kind of tip i was looking fpr to make my music more interesting. The only question i have would be , is there any wau other than ising dolby atmos to create a panning effect that comes from above or below instead of simply front back or sides?

I was checking a mix and trying to stay within these guidelines and played something on Netflix for comparison, everything sounded wayyy louder than my mix. Is there some loudness compensation going on when you stream Netlfix? Because the difference was huge compared to my mix, which is around -24 LUFS long term, I swear it was more than twice as loud. I was playing Netflix from my computer btw, because I know some TVs have some settings that mess with the audio levels.

This is so great!

Very cool

Currently I am binging your videos. Glad that I found your channel.

always nice to watch how other professionals work

informative, thx 4 the upload

great tips

Great video!

Thanks Tom! Thank you for taking the time to share your knowledge with this community. One note, and please correct me if I am mistaken. I believe at 2:41 you switched the loudness specs with regard to film vs TV and streaming. I believe you meant to say: - 24 LUFS +/- 2 for theatrical - 27 LUFS +/- 2 for TV and streaming Thanks again.

you should have played the audio

Do you add SFX elements that are only heard in the M&E and not on the English (or original language) version mix? I generally build a full fill M&E after I've done dialogue edit, and with dialogue muted, then keep the stuff I've added for the sake of the M&E in the full mix. Also, have you used tone synthesizing software like iZotope (product name escapes me) to create tone to fill in gaps in DX where the PFX have been moved to FX? Thanks for the video!

Thanks for this tutorial!

Hello Tom! I checked you course Audio Post Pro and couldn't find a contact email. I have a question about module 10 (mixing). Mixing in 5.1 or just stereo?

I play a lot of LaserDiscs, even today. The PCM track containing a Dolby Stereo mix sounds so good on the Terminator 2 LD using my Pro Logic mode on my receiver! Like wow!

Hello Tom! Thanks for video. Do you use comp before or after de-essor?)

Thank you very much Mr Tom !

Thanks for the video. What would you do when you scan it and it's over? Would you just turn down the gain for each track? Is there a button you could press to lower the entire thing (namely, in Premiere Pro)?

well, you need to knock a bit of 80hz out - it's like a constant hum on your voice.

thank you!

Thanks homie worked well ✊🏾

Thank you so much for such a detailed explaination... Thats so kind of you. GOD BLESS U !!!

If you want to hear some terrible movie sound check out Hollington Drive off Acorn TV. If there was an NTSC version of the UK show I would buy it. Great multi-episode TV with the worst audio engineering ever. Needs at least a 4:1 compression ratio at -25db to even try and make it listenable. I recorded episode 3 with one of my Tascam SDHC card recorders and then uploaded it into Sony Sound Forge Pro to try and fix it adding some EQ with the compression. The microphone techniques used are so bad there is not much to work with. As a side note, I have been paying attention to the kbps rates of DVD audio and am shocked at the MP3 level of PCM audio I am finding. I have seen the low of 224 kbps and a high of 448 kbps. No wonder sound with video is garbage. EVEn a high quality DAC can't fix this. 4K and 8K TV with mp3 sound. Now I know that high resolution sound in 2024 is the CD with external DACs and my two turntables with nice phono stages.. What a step backwards. Even Dolby Atmos is only 768 KBPS audio, not even CD quality.

Thank you ❤🙏

Just to be clear in the EU the target for standard broadcasting stuff is -23 lufs with a +- 0.5 lufs allowed deviation. Check your broadcast organisations' specs!

It's got beyond a joke...last night a theatre played a movie I mixed at Dolby 4.2. Wasn't a loud film, a documentary.... once upon a time you were forced to print master at fader 7 regardless of what level you mixed at..

This just isnt serious... How can you demonstrate how the compression sounds with NO SOUND?!? This video is more flexing than educational.

The real trick is in doing the editing before you compress anything

Perfect video! Is it advisable to use clip gaining to approximate levels between two or more dialogue sources, as you would for a singer? Which would also help prevent "crushing"?

Clear and direct. Thank you sir. Subscribed!

Nice one

A nice, clear explanation of how to create a starting place for setting an EQ for voice, however… as others have mentioned here, it would’ve been much more meaningful to actually hear a sample voice recording with and without your settings as well as when you were sweeping the frequency node around.

bizarre that we don't hear the changes or the original audio

I had been using Surrcode for LtRt on every mix. I found that it added dimension where downmixing did not. However, I'm now on Pro Tools Ultimate 2023.12.0 on an M3 Macbook Pro at home, and this plugin no longer works. Do you happen to know if Neyrink SoundCode is still viable? I'm considering getting it right now, because I haven't found a replacement that comes close.

-27 LUFS in dialoge?

Very clear! Thank you.

interesting but you dont play the result of your eq changes on the dialogue clip - which I find strange -

Amazing thank you. This is very helpful. Would love to see a video about all the audio post rolls and tasks. Like thr obvious “dialogue editor” and to the less logical like “dubbing engineer” which i am still confused about. Thanks!

Thank you!!😎

As with your Compression video this was great. So easy to understand. I'm new to vocal audio processing (recording my own audiobook narrations) and would really be grateful for your 'How to use' the Protools De-essing and Expander Gate plug-ins. Thanks so far!

Great! Very clear explanation. I tried it and it works. However, I do agree with @foritiswritten that hearing the effect would be very useful. I look forward to an enhanced future video. Thanks Tom!

Ty broi

Great video, it would've been sweet to hear that transition.

Question: Is it better to cut the tops off (like you did) where you have a threshold of like -11, and a 4:1, or Go for an overall lighter compression over the full range like -25 threshold and a 2.5:1 ratio? I can't really notice a difference between the original, and the compressed, when I use -25 2.5, but it allows for a more stable volume range. Where, when I use a -12 4:1 or 5:1 I can hear a muffled sound in the loud parts, like... it sounds synthetic. Could be my ears. I am new at this. To me, using a limiter at -4 sounds cleaner than a hard compression like -12 6:1 Your thoughts?