Dialog Mixing How To: Waves Audio R Compressor & Vocal Rider

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In this clip, audio guru Mark Edward Lewis shows us how to balance dialog with the age-old trick of series compression using Waves Audio R-compressor and vocal rider on the 256 channel mix of Blade of Honor.
Learn more about how to get a Hollywood $50 million impact on your audience at www.cinemasound...

[@DavidKfilmmaker]

Now you can fix why the guy is purple

[@raysway2000]

Absolutely my two favorite plugs for dialogue. I usually use the VR before the RComp to (hopefully) give the comp a bit less work to do to avoid artifacts, but, as you said, either way is very effective. Don't know how I have just found you guys, but subbed. Nice explanation. Thanks.

[@ronfya]

Hey Mark, I was wondering ... how do you organize your session to manage the fact that settings for all plugins (EQ, comp, reverb + others) might change from scene to scene? I mean your sessions does look like each character has 1 or 2 assigned tracks for the whole movie and that's it. Do you automate the plugins settings so that they are different for each scene ? That might be quite complex to some extent ... but on the other hand, I don't see how it would be done cause if you have a track per character per scene, the amount of tracks will go up exponentially. Moreover, how do you manage dialog matching (which can sometimes need a lot of tweaks, for example when matching ADR to production sound dialogs ) in this process ? Is it done at an earlier stage in a previous PT session or is it in this session? Thanks. Cheers.

[@ronfya]

Thanks Mark ! I asked in the mix section :D

[@deeperthani]

Your slowly becoming the #1 channel for these topics, thanks !!!!

[@citizenthilo]

Gave it a like after hearing the intro, amazing video!

[@g-elementtrap4604]

tanx

[@ravithompson1082]

Thanks