[Peter Groom]

yes you wont see any difference in the left audio and right. The problem is waaayy more subtle than that.
As I said, drop 1 side to off, pan the remaining side to center (hence only usinh 1 side of the stereo recording and your sorted.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Richard will be right.
easiest solution is to take any audio that is disappearing, and drop off 1 side of the recording (fade down) and then pan the remaining centre and increase by 3 db. now it will be fine as you have removed the opportunity for phase cancellation.

Post Production Dubbing Mixer

[Peter Groom]

I think my point is that if you thing that this is “cool” “inspiring” “a break through” etc etc then youre probably not going to have enough knowledge to understand what the pitfalls could be. Then there’ll be a new thread on Creative cow, reading something like this.

I made my soundtrack and it sounds great in my computer, its sounds great on air , but my client is furious because he says that hes seen it on tv 6 times now, and there is NO sound . He has spent £20000 on the airtime and wants to know what the hell Im playing at, and wants me to refund him the airtime cost! Help?

Best not eh!
Peter

Post Production Dubbing Mixer

[Peter Groom]

HOLD IT STILL. – no handling noise. Just like a cameraman has to hold the camera steady!
peter

Post Production Dubbing Mixer

[Peter Groom]

Echo.
Person making the recording needs shooting.
Clearly werent monitoring with any qc.
Think of it like a cup of tea. Once you have made the tea with sugar, only making another will get rid of the sugar.
Its broken
Peter

Post Production Dubbing Mixer

[Peter Groom]

Well what I think is.
Big mistake!
The creator of this video clearly doesnt know the 1st thing about sound mixing.
By creating a “tiny” offset left to right you potentially change the phase relationship which when monod up could result in phase cancellation. Its just a bad idea.
If you slip a bit more. all you get is chaos and echo.
Peter

Post Production Dubbing Mixer

[Peter Groom]

It depends on how the OMF has been made. You can choose to embed (normal) where the actual audio files are Muxed into the OMF or you can store them separately – In 20 years using OMF ive never had, or made one this way, but i know you can.

OMF is very much on the way out as it is old tech. Now an .aaf is the replacement that does the same, but carries a lOt more metadata etc with it.

Have a look at the .omf file size. If its only a few kb then it has no embedded audio. If it is much bigger, then it has.

Peter

Post Production Dubbing Mixer

[Peter Groom]

I always run line level through -40db pads before hitting the inputs of my zoom h4n. Then calibrate with some 1k tone for input gain controls and life is good.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Also, differing speakers make you change the mix enormously.
ie set up a micx in a studio on big Genelecs, then take it and play through a tv. Youll want to adjust a lot.
So if the programme youre complaining about was mixed for cinema release, then it may not translate to tv speakers very well at all.
Peter

Post Production Dubbing Mixer

[Peter Groom]

HI Ty
Think youre recalling (fondly) Virtual Katy, but that it for reconforming the media already on a timeline to new locations after an edl change list, not bringing in new tracks.
(NB Katy manually reconformed the changes on early Lord of the Rings features in NZ)
Peter

Post Production Dubbing Mixer