make recordings from diff mics sound similar and compression question at DVinfo.net

Go Back   DV Info Net > The Tools of DV and HD Production > All Things Audio

All Things Audio
Everything Audio, from acquisition to postproduction.


Reply
 
Thread Tools Search this Thread
Old May 7th, 2010, 02:22 PM   #1
Regular Crew
 
Join Date: Apr 2008
Location: Vancouver Canada
Posts: 89
make recordings from diff mics sound similar and compression question

So Im a noob when it comes to audio post and am sound editing in FCP a feature I recorded. The timeline is a checkerboard jumping from lav1 to lav2 to boom mic etc. Sounds good, but sometimes the jump sounds too obvious. Is there a way to fix this?

Also for the levels.. do I need to go through the whole movie and individually edit the clips one at a time or is there a faster way? Any basic compression settings I could try?

Thanks heaps for any advice!
Chris Sweet is offline   Reply With Quote
Old May 8th, 2010, 12:19 PM   #2
Trustee
 
Join Date: Aug 2008
Location: New York
Posts: 1,844
I start by moving scene/talent/mic clips to a single track, for instance, "Scene 1', 'Talent/Lav 1' to the NLE's audio track 1".
Separate 'dual/mono (converged stereo) clips to single mono clips if needed depending on your NLE Manually adjust, via the clip/event volume or envelope. (Manually adjusting each clip's volume within the track/scene should be minimal unless poorly recorded.)
When scene clips are track assigned, I apply (if needed and as little as possible) EQ and compression to the track. (or a buss)
Rick Reineke is offline   Reply With Quote
Old May 10th, 2010, 03:55 PM   #3
Regular Crew
 
Join Date: Feb 2010
Location: Austin, TX
Posts: 48
"do I need to go through the whole movie and individually edit the clips one at a time or is there a faster way?"

You pretty much have to go through and set each level individually. However, if as you said, only a few of the transitions are jarring, I would concentrate on leveling out those.

I'm not sure that doing this kind of work in FCP is going to be great. Probably exporting the audio to ProTools or Logic or something similar like that would make the job easier, especially when it comes to "matching" the different mics.

You're probably gonna have to apply some EQ to match the boom with the lavs, and depending on how dry the lav sound is and how wet the boom sound is, you might add a touch of reverb to the lav to make it sound more wet. But you'll need to play around with the reverb settings to try and match the reverb of the space, and with this, less is more. Dial it in until you really start to hear it, and dial it back a notch or two. It should be felt more than heard, unless you're going for a bathroom or warehouse effect.

As for compression, this is useful to tame some of the peaks in the dialog, but isn't a replacement for leveling the dialog with automation. You should try and get the dialog as level as you can before you apply any compression, as compression invariably changes the tonal characteristics of the sound to some degree.
Andrew Hughes is offline   Reply With Quote
Old May 10th, 2010, 05:15 PM   #4
Major Player
 
Join Date: Aug 2008
Location: Huddersfield, UK
Posts: 406
There's really no quick fix for this - just like image editing, fine tuning of audio takes time and effort and work on many individual files - compression can help but if things are varying a lot, it is a very blunt instrument - the music industry is obsessed with compression and it has ruined audio mastering mixing to some degree and I've noticed the tendency creeping into film sound more and more. Too much audio compression is very tiring on the ears and takes out subtlety and nuance and dynamic range of course.

I'd also second the point about FCP capacity for fine audio editing being rather limited - I use Logic for this though the natural DAW for FCP is Soundtrack Pro but I must say I find it rather limited.
Geoffrey Cox is offline   Reply With Quote
Old May 11th, 2010, 08:18 AM   #5
Trustee
 
Join Date: Jul 2003
Location: Burlington
Posts: 1,961
Did you record (or can you find at the start or end of a clip) any ambient sound from each of the mics while the talent is totally quiet?
An extra second of crossfading ambient sound can often help a transition from mic to mic be less noticeable if you must make a hard short cut due to dialogue timing. But as others have said that is part of the intensive audio work that is required to get a really good finished audio track.
Jay Massengill is offline   Reply
Reply

DV Info Net refers all where-to-buy and where-to-rent questions exclusively to these trusted full line dealers and rental houses...

Professional Video
(800) 833-4801
Portland, OR

B&H Photo Video
(866) 521-7381
New York, NY

Z.G.C.
(973) 335-4460
Mountain Lakes, NJ

Abel Cine Tech
(888) 700-4416
N.Y. NY & L.A. CA

Precision Camera
(800) 677-1023
Austin, TX

DV Info Net also encourages you to support local businesses and buy from an authorized dealer in your neighborhood.
  You are here: DV Info Net > The Tools of DV and HD Production > All Things Audio

Thread Tools Search this Thread
Search this Thread:

Advanced Search

 



Google
 

All times are GMT -6. The time now is 10:15 PM.


DV Info Net -- Real Names, Real People, Real Info!
1998-2017 The Digital Video Information Network