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Edit a whole bunch of 1-frame or 2-frame clips of shot A to cover shot B.

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No.

(That’s my answer and I’ll stick to it.)

😉

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Drop on the “Color Correction 3 Way Filter, and use the eye-droppers on the whites, mids, and blacks.

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Its very fast and easy to “fix” in post, for sure.

But you can buy a “stereo” mini-plug adapter that is wired for mono (left and right are paralleled), if you like.

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[JC Boulay] “with the concealed bomb that emits a 90 dB SPL “blip-blop””

Note to vile villains:

When building a time bomb, don’t mount it to a countdown timer with 1.5″ LED readouts on the front.

😉

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Create your titles as a very TALL Photoshop file.

Move it vertically it in the Motion Tab and key-frame it.

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I’ve got to ask.

What do you DO with a blacked and coded tape these days?

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There is nothing faster than “real time’ as you shoot.

If you record to tape for an hour, and record a DVD on a standalone DVD recorder at the same time, you can finalize the DVD and have it in minutes following your shoot.

Any other method will require a much longer wait-time after the event.

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[Troy] “I made a mistake and left my mic at home. “

I can relate.

This happened to me several years ago.

I’d set my audio case (with the mics) out of my car and forgot that I had done so until I got to the shoot 45 minutes from home with guests waiting (on-camera interviews.)

I quickly changed how I shot the interviews.

I moved to the “deadest” (low-reverb) area that I could find, zoomed-wide and held the camera as close to the talent as I could get away with.

I made sure I asked them each to “speak loud and clear” often as we shot.

It can take a bit of improvising to compensate for what you don’t always have.

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While background hum and certain continuous-type noises are relatively easy to isolate and reduce with special digital filtering…

Reverb/Echo is one of the most IMPOSSIBLE-to-fix of audio problems, second only to severely CLIPPED (over-driven) levels.

“EQ” won’t do it.
The reverb is a rapid repetition of the PRIMARY audio… the same frequencies that you want to KEEP.

The “Noise Gate” is probably the other choice, but it will surely PUMP if its set high enough to have very much effect on the reverb. (So it could end up making many tracks sound worse.)

Whatever you try will adversely affect the overall QUALITY of the audio being “fixed” and be very noticeable to the listener (especially compared to any “good” audio in the same production).

The phrase that applies is: “GOOD audio is the absence of BAD audio.”

Therefore the best cure for BAD audio… is recording GOOD audio.

If it was as simple as adding filters,
major producers of motion pictures and TV shows would NOT spend the big bucks and TIME it takes
to LOOP (replace with ADR) any “bad” location audio with the actors re-recording the same dialogue (lip-syncing) in a quiet studio.

I know that re-recording is not always possible, that’s not my point here.
What IS the point is that once you have a poorly-recorded audio track,
under certain conditions, it just can’t be “fixed”.

— If the VIDEO is out-of-focus and the person talking is not framed correctly:
A. Re-shoot it.
B. Add filters and suffer the obvious reduced quality.
C. Don’t USE it (Substitute another shot.)
D. Suffer with, it as-is.
AND: MONITOR more carefully the next time.

— If the AUDIO is “off-mic” (reverb or echo) or severely over-modulated (clipped):
A. Re-shoot it.
B. Add filters and suffer the obvious reduced quality.
C. Don’t USE it (Substitute another track.)
D. Suffer with, it as-is.
AND: MONITOR more carefully the next time.