Actually if you want less dry signal and more wet one, you should set your send on PRE-FADER to control them independently, otherwise it won't work. The thing is that if you are by default on POST-FADER, once you lower the dry signal, you'll also lower the send amount, no matter how you set it, because they are connected to each other.
Thank you Michael! This has been my favorite tutorial series by far when it comes to audio editing for film. I love that you take the time to reiterate concepts as you go along. It really makes it simple for an audio beginner like me to make the connections in my mind. Excellent work.
Hey. Thanks for this series of videos. Very useful and informative. I always use a mono reverb to create depth for the dialog, fx and foley tracks. I may also use a stereo/ surround reverb as well to create more space. I'm surprised you are using only a stereo reverb. In my understanding that will not create depth at all and it makes it difficult to match ADR to production dialog tracks since the production track is mono and doesn't have a spread out stereo reverb. Also, I always keep the sends from the dialog, fx and foley tracks at unity gain and control the level of reverb from the output of the corresponding reverb bus. My reason is that a healthy level of signal into the reverb unit produces better processing as compared to a lower level input into the reverb unit. Thereby achieving a better S/N ratio of the reverb output.
Of course! Happy to help. So I'm not sure if I follow your logic on both points. First off, sure you can use a mono reverb on DX, but using a stereo reverb on a mono track should sound exactly the same as a mono reverb unless you add some kind of stereo ping-pong delay between the channels. Same for matching ADR with production dialogue, if the stereo reverb is essentially working as a multi-mono effect, meaning the same signal is being sent to both channels, then it shouldn't sound any different, except for maybe a volume difference. On the second point, you're not introducing noise into the system by raising the digital gain within Pro Tools, unlike what would happen if you were using an analog mixer. So I think both workflows work, but they shouldn't yield different sounding results. But thanks for asking the questions!
For the ADR in the in-door scene I would have put a reverb as an insert and played with the Wet/Dry mix, since the ADR is still too clean and intimate compared to the boom.
That's fair. When I actually worked on it for the film, I spent much more than a few minutes trying to match the ADR and the production dialogue. Regardless though, matching ADR and production dialogue is always tough. Thanks for watching!
Film Sound Tutorials I watched the final version of the film, it sounded real great! And this video series is amazing! There’s some great knowledge here. I’m new to film sound mixing, only worked with music before so the way you organize your groups, and families is real great and easy to read. Previously I just put new sounds on new tracks and it’s just a mess. Don’t worry, it was only for personal use, I didn’t deliver that to anyone, haha!
Ok.....but I'm doing a feature, and I need probably 40-50 different verbs throughout that film. Probably more. And I want each verb to affect EVERYTHING in that scene except dialog & music, without having to mess around with duplicating the signal. I'd rather just bus things together if I can. And my question is, why the F is there NO platform that supports effects clips, like literally every video NLE does? I can put any effect I like on an adjustment layer in Premiere, and it affects the clips I specify FOR THE TIME I specify. How hard would that be to implement in a DAW?! Just blank clips on a bus track you can apply effects to? And how incredible would that tool be?!?!
Haha welcome to using Pro Tools. We just got folder tracks a couple months ago. But yes in Pro Tools 2020 I think they just added a new way to add effects to individual clips. It doesn't work exactly like what you're talking about in video editing software, but it's almost there. Hopefully we'll see something like that soon. Thanks for watching!
Not necessarily, no. But eventually having too many Reverb plugins in your session will slow down your computer. So having Reverbs on Aux channels saves computer resources. Hope that helps!
Truly awesome tutorials. I've watched all the videos so far worrying about the ADR haha. I'm still worried that they're not matched at all. Beisdes eq, gain and reverb automation would/will you use something else as well?
I mean, when I was actually mixing the film I did spend more time getting the ADR to match the dialogue recorded on set. But I think we got fairly close in the time-constrained tutorials. So to answer your question, no those are the main tools I use to match ADR and production dialogue. There are couple fancy plugins that get a little bit closer, but that's not very helpful when you're learning how to mix and training your ears. Also a couple others tricks I used in Murphy's Law when the ADR still wasn't matching perfectly, was I looked for alternate takes to see if there was cleaner audio, I dirtied up the room tone, added more sound effects under the dialogue, and mixed the foley a little bit louder, so that the scene sounded a little more "dirty" and chaotic in general, which better "hid" the different dialogue clips. But that's kind of a last resort. That's why you always try to get clean dialogue and record wild lines while on set. Hope that answers your question!
@@FilmSoundTutorials I hope you know how awesome you are for sharing your time with the videos and replying so fast to us. Can't wait for the next one. Put the channel on ring notificationss
Man these tutorials are amazing! thanks. One question i had was instead of duplicating reverb patch A 4 times and reverb patch B 4 times, would there be any drawback to having say 8 different reverb patches (that way you could have more options for decay lengths for instance) that any track could be sent to regardless of the group they are in and then just have those reverbs dump into a Reverb Fx sub master that would run parallel to the group sub masters? thanks again for these videos.
Happy to help! Sure, you can have as many Reverbs as you'd like, as long as your computer can handle it. I've seen up to 5 on some Mixers templates. As for a Reverb Sub Master, I've seen it before but I'm not a fan. Specifically because then you can't use the Stems for a foreign mix. So if you send all of the families to a Reverb Submaster and then the production want to change the dialogue to a different language, well now you can't reuse the Reverb because it already has reverberant English dialogue in it. So then you can't use the Reverb Stem at all and then you have to redo any reverb on the rest of the families. So again, I've seen it before, but I'd rather have the reverb sent to the correct families so then the Stems can be used for any situation. Hope that makes sense!
@@FilmSoundTutorials thanks for the reply. I definitely could be missing something here but if they overdubbed the dialogue in a diff language wouldnt you have to reprint the dialogue stem any way (with the built in reverb)? And if thats the case and you have a template setup which enables you to print all your family stems at the same time would it theoretically be any more work for the mixer? thanks again
Sorry I missed this response. Yes if you overdub the dialogue in a different language you will have to reprint the dialogue stem. But normally that is done by a different person in a different studio with a different template who doesn't necessarily have access to the original Pro Tools session. So you're right, if it was the same person, then it wouldn't be an issue. But otherwise it's better to have the different families with the Reverb baked into their individual stems. Hope that answers the question!
Same question as on another video, wouldn’t you add your reverbs to the VCA sum tracks, and automate that one track’s reverb as you need it? It’d be rare for there to be a need for multiple reverbs at the same time for any particular stem, afaict. For the few tracks that need single elements to get their own reverb, but not others firing at the same time, you could do an individual reverb for that track, and keep the reverb turned off (or differently) on the VCA. Fwiw, to make it easier I created a couple “far” tracks with hi-Lo-pass and reverb, and then drop distant foley/fx on as needed. I also created six tracks permanently panned to +/- 30/60/90, plus a couple called “var pan” for when the pan changes through the clip, so I can know where to tweak things. But wow, sure wish I’d watched your tutorials before I started mixing my feature!
Again, it kind of depends how much control you need on a track by track basis. Sometimes you can use reverb for theatrical effect instead of just using it to make an audio clip sound more "wet". So there are use cases when you might want to have multiple reverbs affecting a single audio family, most likely for sound effects. Yes, you're trick for making a special reverb track for the sound effects also works, I've done that from time to time, but I just wanted to show a common workflow that I've seen other mixers in Hollywood use as well. I'm not too sure about your 6 panned reverb tracks though, that seems a little overly complicated when it's fairly easy to automate the panning just for the reverb aux. But it's a pretty innovative idea, it just goes to show that there really are many ways to get the same final sound from Pro Tools. Thanks for sharing!
Nope, still have two more to do for this series. Yes, the last two will cover the final mix, export, and session clean up. But I'm booked doing some freelance work in addition to my day job at the moment, so I haven't had the time to work on the latest video. Hoping to have it done in the next few weeks. Thanks for checking in!
How would you approach needing to send all tracks of a group to the same reverb? For instance, sending all the foley or ambience of a scene to the same verb to help It sit. As it is now the reverb return goes to the group so there would be probably feedback? I take it creating another sub aux would work?
So I would just do the same process and add a Send to every track in that group. It's a little tedious but that's the correct way. Alternatively you could also add a Reverb to the Submaster track and accomplish the same thing. Regardless, I've never really run into a situation like this. If anything, if I do need a lot of sound effects with reverb, I just designate a couple tracks as my "reverb tracks" and put everything that needs reverb only on those tracks and just leave the Reverb send as always on. Hope that answers your question!
Unfortunately no, I don't have the rights to sell the projects files of Murphy's Law. But I do have a couple other sample projects on my website soundtuts.com that you can practice with. Hope that helps!
There's a couple different ways to setup reverb aux tracks. This is what works for me and the type of deliverables I have to create. But yes, it can get complicated very quickly. Thanks for watching!
@@MrFlexID Thanks! Yep there's many ways to setup things in Pro Tools, which is why it's confusing for people when they're just starting out. I'm glad the videos were helpful. Thanks for watching!
Please complete this series this the only one i found very useful, thank you for this series!!!!!
I agree - these are truly outstanding tutorials. A fantastic resource for new and experienced sound enthusiasts. Desperate to see the next episode!
Yep just a couple more videos to finish them up! Thanks for watching!
Just published the latest tutorial. Let me know what you think!
Film Sound Tutorials Excellent! Will check it out ASAP!
Actually if you want less dry signal and more wet one, you should set your send on PRE-FADER to control them independently, otherwise it won't work.
The thing is that if you are by default on POST-FADER, once you lower the dry signal, you'll also lower the send amount, no matter how you set it, because they are connected to each other.
Yep, you're right. I forgot to mention Pre/Post fader. I'll have to mention it in the next video. Thanks for the comment!
Thank you Michael! This has been my favorite tutorial series by far when it comes to audio editing for film. I love that you take the time to reiterate concepts as you go along. It really makes it simple for an audio beginner like me to make the connections in my mind. Excellent work.
Thanks! I'm glad the videos helped. Thanks for the feedback, I'll keep that in mind in the future. Thanks for watching!
Hey. Thanks for this series of videos. Very useful and informative.
I always use a mono reverb to create depth for the dialog, fx and foley tracks. I may also use a stereo/ surround reverb as well to create more space. I'm surprised you are using only a stereo reverb. In my understanding that will not create depth at all and it makes it difficult to match ADR to production dialog tracks since the production track is mono and doesn't have a spread out stereo reverb.
Also, I always keep the sends from the dialog, fx and foley tracks at unity gain and control the level of reverb from the output of the corresponding reverb bus. My reason is that a healthy level of signal into the reverb unit produces better processing as compared to a lower level input into the reverb unit. Thereby achieving a better S/N ratio of the reverb output.
Of course! Happy to help. So I'm not sure if I follow your logic on both points. First off, sure you can use a mono reverb on DX, but using a stereo reverb on a mono track should sound exactly the same as a mono reverb unless you add some kind of stereo ping-pong delay between the channels. Same for matching ADR with production dialogue, if the stereo reverb is essentially working as a multi-mono effect, meaning the same signal is being sent to both channels, then it shouldn't sound any different, except for maybe a volume difference. On the second point, you're not introducing noise into the system by raising the digital gain within Pro Tools, unlike what would happen if you were using an analog mixer. So I think both workflows work, but they shouldn't yield different sounding results. But thanks for asking the questions!
For the ADR in the in-door scene I would have put a reverb as an insert and played with the Wet/Dry mix, since the ADR is still too clean and intimate compared to the boom.
That's fair. When I actually worked on it for the film, I spent much more than a few minutes trying to match the ADR and the production dialogue. Regardless though, matching ADR and production dialogue is always tough. Thanks for watching!
Film Sound Tutorials I watched the final version of the film, it sounded real great! And this video series is amazing! There’s some great knowledge here. I’m new to film sound mixing, only worked with music before so the way you organize your groups, and families is real great and easy to read. Previously I just put new sounds on new tracks and it’s just a mess. Don’t worry, it was only for personal use, I didn’t deliver that to anyone, haha!
They use reverb for a lot of things. Like distance, in a large room, thoughts, for something larger than life, anime sound effects, and etc.
Yep exactly! Thanks!
Solid. Exactly how this is done. Thank you for making this.
Of course, happy to help! Thanks for watching!
Thank you! Great series!
Thanks for watching!
Hi. Thank you very much for your videos. They help soo much to better understand the whole process. And made my records sound pure.
Awesome, I'm glad the videos could help. Thanks for watching!
Ok.....but I'm doing a feature, and I need probably 40-50 different verbs throughout that film. Probably more. And I want each verb to affect EVERYTHING in that scene except dialog & music, without having to mess around with duplicating the signal. I'd rather just bus things together if I can. And my question is, why the F is there NO platform that supports effects clips, like literally every video NLE does? I can put any effect I like on an adjustment layer in Premiere, and it affects the clips I specify FOR THE TIME I specify. How hard would that be to implement in a DAW?! Just blank clips on a bus track you can apply effects to? And how incredible would that tool be?!?!
Haha welcome to using Pro Tools. We just got folder tracks a couple months ago. But yes in Pro Tools 2020 I think they just added a new way to add effects to individual clips. It doesn't work exactly like what you're talking about in video editing software, but it's almost there. Hopefully we'll see something like that soon. Thanks for watching!
THANK you man one more time for this golden information
im just a student and you really helped me
to mush love man
Awesome, glad the videos could help. Thanks for watching!
Thanks a lot for your time and information!!
Of course! Happy to help. Thanks for watching!
Your amazing! Thank you :D
Thanks! Thanks for watching!
Is it a problem to use reverb directly on channels, instead of using sends?
Not necessarily, no. But eventually having too many Reverb plugins in your session will slow down your computer. So having Reverbs on Aux channels saves computer resources. Hope that helps!
@@FilmSoundTutorials That helped a lot! Thank you, and your channel is really awesome, congrats!
@@ygorziin135 Thanks for the kind words! Happy to help!
Truly awesome tutorials. I've watched all the videos so far worrying about the ADR haha. I'm still worried that they're not matched at all. Beisdes eq, gain and reverb automation would/will you use something else as well?
I mean, when I was actually mixing the film I did spend more time getting the ADR to match the dialogue recorded on set. But I think we got fairly close in the time-constrained tutorials. So to answer your question, no those are the main tools I use to match ADR and production dialogue. There are couple fancy plugins that get a little bit closer, but that's not very helpful when you're learning how to mix and training your ears. Also a couple others tricks I used in Murphy's Law when the ADR still wasn't matching perfectly, was I looked for alternate takes to see if there was cleaner audio, I dirtied up the room tone, added more sound effects under the dialogue, and mixed the foley a little bit louder, so that the scene sounded a little more "dirty" and chaotic in general, which better "hid" the different dialogue clips. But that's kind of a last resort. That's why you always try to get clean dialogue and record wild lines while on set. Hope that answers your question!
@@FilmSoundTutorials I hope you know how awesome you are for sharing your time with the videos and replying so fast to us. Can't wait for the next one. Put the channel on ring notificationss
Thank you! I appreciate the kind words. I'm just trying to help where I can. Thanks for watching!
Man these tutorials are amazing! thanks. One question i had was instead of duplicating reverb patch A 4 times and reverb patch B 4 times, would there be any drawback to having say 8 different reverb patches (that way you could have more options for decay lengths for instance) that any track could be sent to regardless of the group they are in and then just have those reverbs dump into a Reverb Fx sub master that would run parallel to the group sub masters? thanks again for these videos.
Happy to help! Sure, you can have as many Reverbs as you'd like, as long as your computer can handle it. I've seen up to 5 on some Mixers templates. As for a Reverb Sub Master, I've seen it before but I'm not a fan. Specifically because then you can't use the Stems for a foreign mix. So if you send all of the families to a Reverb Submaster and then the production want to change the dialogue to a different language, well now you can't reuse the Reverb because it already has reverberant English dialogue in it. So then you can't use the Reverb Stem at all and then you have to redo any reverb on the rest of the families. So again, I've seen it before, but I'd rather have the reverb sent to the correct families so then the Stems can be used for any situation. Hope that makes sense!
@@FilmSoundTutorials thanks for the reply. I definitely could be missing something here but if they overdubbed the dialogue in a diff language wouldnt you have to reprint the dialogue stem any way (with the built in reverb)? And if thats the case and you have a template setup which enables you to print all your family stems at the same time would it theoretically be any more work for the mixer? thanks again
Sorry I missed this response. Yes if you overdub the dialogue in a different language you will have to reprint the dialogue stem. But normally that is done by a different person in a different studio with a different template who doesn't necessarily have access to the original Pro Tools session. So you're right, if it was the same person, then it wouldn't be an issue. But otherwise it's better to have the different families with the Reverb baked into their individual stems. Hope that answers the question!
Same question as on another video, wouldn’t you add your reverbs to the VCA sum tracks, and automate that one track’s reverb as you need it? It’d be rare for there to be a need for multiple reverbs at the same time for any particular stem, afaict. For the few tracks that need single elements to get their own reverb, but not others firing at the same time, you could do an individual reverb for that track, and keep the reverb turned off (or differently) on the VCA. Fwiw, to make it easier I created a couple “far” tracks with hi-Lo-pass and reverb, and then drop distant foley/fx on as needed. I also created six tracks permanently panned to +/- 30/60/90, plus a couple called “var pan” for when the pan changes through the clip, so I can know where to tweak things. But wow, sure wish I’d watched your tutorials before I started mixing my feature!
Again, it kind of depends how much control you need on a track by track basis. Sometimes you can use reverb for theatrical effect instead of just using it to make an audio clip sound more "wet". So there are use cases when you might want to have multiple reverbs affecting a single audio family, most likely for sound effects. Yes, you're trick for making a special reverb track for the sound effects also works, I've done that from time to time, but I just wanted to show a common workflow that I've seen other mixers in Hollywood use as well. I'm not too sure about your 6 panned reverb tracks though, that seems a little overly complicated when it's fairly easy to automate the panning just for the reverb aux. But it's a pretty innovative idea, it just goes to show that there really are many ways to get the same final sound from Pro Tools. Thanks for sharing!
Hi, is this the last one? I wonder if after this you'd mix the different track families/submix tracks with each other and then master the whole film?
Nope, still have two more to do for this series. Yes, the last two will cover the final mix, export, and session clean up. But I'm booked doing some freelance work in addition to my day job at the moment, so I haven't had the time to work on the latest video. Hoping to have it done in the next few weeks. Thanks for checking in!
How would you approach needing to send all tracks of a group to the same reverb? For instance, sending all the foley or ambience of a scene to the same verb to help It sit. As it is now the reverb return goes to the group so there would be probably feedback? I take it creating another sub aux would work?
So I would just do the same process and add a Send to every track in that group. It's a little tedious but that's the correct way. Alternatively you could also add a Reverb to the Submaster track and accomplish the same thing. Regardless, I've never really run into a situation like this. If anything, if I do need a lot of sound effects with reverb, I just designate a couple tracks as my "reverb tracks" and put everything that needs reverb only on those tracks and just leave the Reverb send as always on. Hope that answers your question!
Do you sell audio files of this film? it's very interesting in terms of ambiences and situations. I d like to do some practice with it.
Unfortunately no, I don't have the rights to sell the projects files of Murphy's Law. But I do have a couple other sample projects on my website soundtuts.com that you can practice with. Hope that helps!
Hello, I want to translate your video into Chinese，can we keep in touch？
I think anyone can write subtitles for these videos using RUclips's caption system. So you can translate the captions into Mandarin if you want?
@@FilmSoundTutorials Of course I can! I think these tutorials are very helpful, so I want more peple to learn from you!
@@Anranwang-designer Awesome, that would be great! Thank you!
That’s a legit nightmare - trying to imagine this layout of reverbs with any IR reverb instead of algorithmic ))
There's a couple different ways to setup reverb aux tracks. This is what works for me and the type of deliverables I have to create. But yes, it can get complicated very quickly. Thanks for watching!
@@FilmSoundTutorials I mean no offence. just saying that every even brilliant template has a hundred ways around :D Great videos:)
@@MrFlexID Thanks! Yep there's many ways to setup things in Pro Tools, which is why it's confusing for people when they're just starting out. I'm glad the videos were helpful. Thanks for watching!