Forum Replies Created

  • Dan Gelter

    May 13, 2018 at 6:25 pm in reply to: app to find available wireless frequency

    Take a look at Wavetool. Mac & iOS only. Not cheap, but when you work a lot with radiomics, you’ll like something like this:
    https://wavetool.fi
    There’s also RF explorer, a much cheaper, handheld device. They have apps that work with it:
    https://rfexplorer.com/models/

  • Dan Gelter

    April 15, 2018 at 10:48 am in reply to: Shooting video with someone whispering

    Very well possible. It’s done many times in films..
    Look for the quietest background possible (maybe work work at night), use a shotgun or hyper cardioid mic, put it as close as possible to the mouth. I would advise a close up shot, or medium at most.
    Use a quiet mic pre. Raise gain. Then in post, remove background noise.. Also work on lip movements, plosives, and breaths, because they can easily sound too loud. Use a tool like Izotope RX for post work.

  • Dan Gelter

    March 18, 2018 at 12:57 pm in reply to: DCP compliant audio using RX Loudness Control

    As answered on GS, there’s no (real) loudness spec for audio in a movie theatre.
    But to get you in the ballpark, and to quote Georgia:
    “Get the dialogue to around -12 for yelling with a bit higher for the occasional scream, and down to -22ish -20 for speaking, down to -23 (and lower) for whispers.
    Big crashes / hits/ explosions can tap 0. Quiet ambience can get all the way down to -28 ish or lower”

    But again, these numbers are not a spec. They’re based on personal taste, with a certain type of film in mind, and should be measured ‘True-peak’.
    Also know that theatres have a so called ‘X Curve’ on their sound-system, meaning both low & high frequencies are rolled off to a certain degree, but not equally on every level. When mixing you can compensate for that X-curve.

    Another thing to keep in mind: when mixing over nearfield monitors, it’s difficult to create a dynamic sounding mix, and quite impossible to mix low frequencies.
    It’s best to do a test run in a local theatre (or calibrated dub stage) before signing off on a project.

  • If you’re on Pro Tools HD, give the ‘Fieldrecorder-Workflow’ a try. But that’s a funny name for a woman..
    If you’re not on HD, I think Plural Eyes could help, too. It will sync multiple audio tracks based on their waveform. Even has a free trial.
    Tuts & links:
    https://www.redgiant.com/products/pluraleyes/
    https://vimeo.com/50092231
    https://www.youtube.com/watch?v=EqlZUWZ64Nk

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