I can't thank you enough for this series. Learned a ton. You just made a lot of lives better, this is really generous of you (: Subscribed instantly, looking forward to check your other content out. All the best!
What a great series! Thank you for making this. I'm adding Post Audio SD and Mix in my tool bag. Just an idea on the source music around 6:00 mark. A tape emulation plug in like a J37 or a Kramer Tape might add that retro dust more.
The entire series has been tremendously helpful, there's not much information out there about setting up a session or a step by step approach like you've done here. Great job, brother! Thank very much
Outstanding!!! It's great you didn't edit the video. Good the video is that long and you allowed to see entire workflow. Always interesting to see other pro working. Never thought to automate reduction level of nose reduction. Thank you
I'm noticing that on exterior scenes, the ambiances we build are way more important then in interior scenes. these layers of exterior atmosphere directly influence how much to denoise the dialogue. this might be too much of a long stretch but... in classical music it is common practice to place overheads/room mics to get the entire projection of the ensemble, this is the main sound of sound - the holistic representation. then engineers also place spot mics closely to instruments. in the mix, we hear the overheads first, then they raise the spot mics the create more defined articulations and accents - the best ballance of the two worlds, one from the top, one from the bottom. same here in this scene outside the airport. i think if we manage a good background soundscape (overheads), the words of the actors will sit inside properly (spot mics). in my earlier days i would have been tempted to denoise dialogue tracks without understanding this important depth perspective. thank you for your lessons.
Hey Thomas! Love your content! I've been doing audio post for few years (and also went to school for it), but from your videos I got more practical info than almost any other source, especially when it comes to mixing. Is there a room for new video ideas? One thing I am not sure about is when two (or more) people mix at the same time - for example one DX and MX mixer and one SFX mixer. Do they have pre-dubs already ready and mix mainly with VCAs for different "food groups" together to make it time efficent? Or do they also do predubs together (seems like it would take A LOT of time and half the time only one of them would be able to work). If you could make a video explaining this workflow I would be forever grateful!
Thank you for showing all this! I would be curious to know a bit about delivery and how you export all this if you have time to touch in on it. If not, no problem - I enjoyed watching these videos in the quest to refine my techniques
I suppose you record enable the mix and stem tracks and hit play but it would be nice to see if there are any tricks or things to watch out for. How to deal with latency or check that the CPU or ram didnt max out and not work correctly.
Been watching all episodes for multiple times, clearly the best source i have found. The only thing i wish to have a better sight of is volume automation, especially with an external hardware controller.1) what motivates moving a fader? Eg if volume dropped, you react after you +hear+ the change in loudness? That would cause latency and a slight misalignment. Or you just watch waveform and act accordingly? 2) do you really record volume automation across multiple tracks at the same time? if that was the case, can you please give a hint how is it actually done? Thank you for your efforts!
Thomas, how do you do the final treatment of the deliveries? maybe quick punch for fix?, some adjustements? level, compression?, etc. thankyou, I enjoyed the series too much. I think I'll see it a thousand times
@@ThomasBoykin Thank you so much for the series! Your workflow is great! It's wonderful to know that you might do another video on deliveries. May I know how you deal with M&E efficiently? Great series!!
Amazing content, thank you so much! Just got a question in regards to boom and lav mics on your dialogue tracks. I see you mixing both of them. Is this the general approach in mixing films? I would have thought you select just the mic which works the best in the scene and mute the other, so its either the boom or the lav in the mix but not two of them together ?
It will depend on each scene and shot. Before auto align post I would only pick one. But if you put them in phase you can mix them and get the benefits from each mic
@@ThomasBoykin Tapping in on this. In this case you ran both lavs and boom several times. Were they autoaligned before or will you do it later? If you autoalign them before EQing, will the EQ on lets say lavs change the relationship causing say phasing issues if you EQ? Or is it a non issue in real scenarios
Incredible series, thank you, Thomas! As you're now doing a fair bit of audio cleanup and creative EQ use (as with the diegetic music from the radio), would you say you'd generally expect to do a lot of that in the mixing stage, or would it ideally have been dealt with during editing?
So I'm currently working on a mix for my film where there's a lot of background noise captured in the lavs, and I ended up having to use noise reduction on virtually every clip. Would you say that was the best way to go about it, or is there a better alternative if I have the same situation again?
@@ThomasBoykin the real time process helped out a lot, and actually cleaned up some missed artifacts and allowed me to recover some of the gain as well. Thanks!
I can't thank you enough for this series. Learned a ton. You just made a lot of lives better, this is really generous of you (: Subscribed instantly, looking forward to check your other content out. All the best!
What a great series! Thank you for making this. I'm adding Post Audio SD and Mix in my tool bag.
Just an idea on the source music around 6:00 mark. A tape emulation plug in like a J37 or a Kramer Tape might add that retro dust more.
The entire series has been tremendously helpful, there's not much information out there about setting up a session or a step by step approach like you've done here. Great job, brother! Thank very much
MORE LEATHER! :D
Really love this series!
I'm a better professional because of these videos, thank you so much for the effort!
Awesome series man! I'm just getting into post sound for film and this series has taught me a ton
Glad to help
Outstanding!!! It's great you didn't edit the video. Good the video is that long and you allowed to see entire workflow. Always interesting to see other pro working. Never thought to automate reduction level of nose reduction. Thank you
Glad to help
I'm noticing that on exterior scenes, the ambiances we build are way more important then in interior scenes.
these layers of exterior atmosphere directly influence how much to denoise the dialogue.
this might be too much of a long stretch but...
in classical music it is common practice to place overheads/room mics to get the entire projection of the ensemble, this is the main sound of sound - the holistic representation.
then engineers also place spot mics closely to instruments.
in the mix, we hear the overheads first, then they raise the spot mics the create more defined articulations and accents - the best ballance of the two worlds, one from the top, one from the bottom.
same here in this scene outside the airport. i think if we manage a good background soundscape (overheads), the words of the actors will sit inside properly (spot mics).
in my earlier days i would have been tempted to denoise dialogue tracks without understanding this important depth perspective.
thank you for your lessons.
That's a great breakdown and analogy. And part of the reason I like to predub dialog with the backgrounds whenever possible.
I feel there should be a puppet presenting this most excellent video. ...Well done, & thank you.
Hey Thomas! Love your content! I've been doing audio post for few years (and also went to school for it), but from your videos I got more practical info than almost any other source, especially when it comes to mixing. Is there a room for new video ideas? One thing I am not sure about is when two (or more) people mix at the same time - for example one DX and MX mixer and one SFX mixer. Do they have pre-dubs already ready and mix mainly with VCAs for different "food groups" together to make it time efficent? Or do they also do predubs together (seems like it would take A LOT of time and half the time only one of them would be able to work). If you could make a video explaining this workflow I would be forever grateful!
Thank you for these videos, great help
Thank you for showing all this! I would be curious to know a bit about delivery and how you export all this if you have time to touch in on it. If not, no problem - I enjoyed watching these videos in the quest to refine my techniques
I suppose you record enable the mix and stem tracks and hit play but it would be nice to see if there are any tricks or things to watch out for. How to deal with latency or check that the CPU or ram didnt max out and not work correctly.
thank you so much!
very good!
Awesome stuff!
Hi Thomas! Do you have a episode when you explain how you use compression on your dialog tracks? /Benny
Great vid, keep it up👍🏻👍🏻
Super Series !! :) Can You develop a Reverb part ? 😀
yes! pleeeeeease! reverb management & advanced automation
it would be very cool @Thomas Boykin
Been watching all episodes for multiple times, clearly the best source i have found. The only thing i wish to have a better sight of is volume automation, especially with an external hardware controller.1) what motivates moving a fader? Eg if volume dropped, you react after you +hear+ the change in loudness? That would cause latency and a slight misalignment. Or you just watch waveform and act accordingly? 2) do you really record volume automation across multiple tracks at the same time? if that was the case, can you please give a hint how is it actually done? Thank you for your efforts!
I watch the waveforms on a first pass. Multiple faders to balance tracks against each other.
thankyou very much!
Thomas, how do you do the final treatment of the deliveries? maybe quick punch for fix?, some adjustements? level, compression?, etc. thankyou, I enjoyed the series too much.
I think I'll see it a thousand times
Maybe I can cover that in another video.
@@ThomasBoykin really? t hankyou so much!!
@@ThomasBoykin Wanted to ask for the same
@@ThomasBoykin Thank you so much for the series! Your workflow is great! It's wonderful to know that you might do another video on deliveries. May I know how you deal with M&E efficiently? Great series!!
¿Maybe you could cover in another chapter how you handle reverb and advanced topics on automation?
Good idea!
@@ThomasBoykin anb delay + reverb for make spaces and backgrounds.
Thank you !
Amazing content, thank you so much! Just got a question in regards to boom and lav mics on your dialogue tracks. I see you mixing both of them. Is this the general approach in mixing films? I would have thought you select just the mic which works the best in the scene and mute the other, so its either the boom or the lav in the mix but not two of them together ?
It will depend on each scene and shot. Before auto align post I would only pick one. But if you put them in phase you can mix them and get the benefits from each mic
@@ThomasBoykin Tapping in on this. In this case you ran both lavs and boom several times. Were they autoaligned before or will you do it later? If you autoalign them before EQing, will the EQ on lets say lavs change the relationship causing say phasing issues if you EQ? Or is it a non issue in real scenarios
@@Dustbrigade the aligning is usually done during the dialogue edit
thanks you
Incredible series, thank you, Thomas! As you're now doing a fair bit of audio cleanup and creative EQ use (as with the diegetic music from the radio), would you say you'd generally expect to do a lot of that in the mixing stage, or would it ideally have been dealt with during editing?
Mixing
So I’m using Clarity Vx Pro instead of Izotopoes Voice de noise. It works waaaay better, but definitely drains the cpu
Still doesn’t beat cedar
@@ThomasBoykin definitely not. But it works on a budget. 🤷🏼♂️
Can anyone help me with understanding track Input and Outputs shown in this video plz....
So I'm currently working on a mix for my film where there's a lot of background noise captured in the lavs, and I ended up having to use noise reduction on virtually every clip. Would you say that was the best way to go about it, or is there a better alternative if I have the same situation again?
Clip by clip is good, followed by a slight real time process for overall smoothness. Best of both worlds
@@ThomasBoykin the real time process helped out a lot, and actually cleaned up some missed artifacts and allowed me to recover some of the gain as well. Thanks!
I would love to know what you do when the cut gets changed
Conform by hand. I’ve tried conformalizer and matchbox. Nothing beats doing it the old fashioned way for me.
Just a heads up, there's another spam comment.