[Peter Groom]

Hi
Yes, although Ive never heard the term water breaks, I think those water breaks are what we refer to as handles.
If the interview is cut tight then youd mix between the water breaks as a cross mix.
If there is say a 4 sec gap where music fills then id fade out “from” the cut then fade in “to” the cut
You can use an atmos or buzz track to dress the joins.
Does this help?
Peter

Nb Often at a recording youd shoot the interview with clear air before the content, but then a director or editor might want to start the used dialogue further in and cut off a portion from the front. This would then mean youd go and get that clear air and move it to the new in / out point to dress that join.

Post Production Dubbing Mixer

[Peter Groom]

Ok – you cant have a value to hit on a NLE meter that gives compliance to a loudness delivery value. The 2 are completely different things.
The loudness algorithm is designed to meter based on programm type , not just electrical energy – thats how it deals with percieved volume not just actual level.

re I have the Loudness radar set as a plugin on the Master Channel, however, nothing I do changes the final value.

If you have a loudness meter and its not showing any changes, then theres something wrong which i cant help with as i dont use a video edit tool to mix audio (just like I wouldnt use a knitting needle to dig a foundation! wrong tool.
Premiere might not support or bus the audio like it is needed to make a radar app work, but I cant help there.

You need to familiarise yourself with the delivery loudness spec of the territory you are delivering in – its more than just -24 lufs.

Id get a dub studio involved if youve a client who is hiring you to get it right, as I dont think you can in this PPro environment.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Its not really possible to deecrease room tone. But you can add refelections to a tight recording to degrade it to match the other? Not ideal but thats your choice.
The samples you posted.
Izotope will learn and remove a lot of the heavy room rumble anfd the high pitched whine on 2 or the recordings.

This is why id personally always use a personal mic which can be hidden “in shot” on 1 track and 1 boom mic as you have just out of shot, so when the shot size changes you still have close audio.
Id also investegae a rifle with a longer and sharper reach than your rifle so you can get better distance, but that doesnt help you right now on this recording.
Have a look at Isotope rx.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
If I follow correctly your question re “split second of audio skips because its been cut” you are talking about changes in background noise etc that now dont match across an edit as youve removed a portion.

OK – the solutions are
1) Always have a professional sound recordist on the recording. He will be paying 100% attentionm to the sound and can minimaise the changes youre hearing.
2) Where you have a cut, always cross mix every one unless its completely inaudible. This is where a sound dub becomes invaluable and why it is so important to use a NLE that supports output of OMF2 or AAF files that can go to a dub studio. These formats retain the “handles” (the audio the preceeds the cut or is post the cut but NOT used in the timeline. This is material that the “pros will use to smooth the transition.
3) IF the material in the handle has other unwanted dialogue (quite likely in a n interview, the importance of the wild track becomes evident. Then the dubbing editor will go and find a part of the wild or buzz track that matches, put the 2 sides of the cut on different tracks, add some wild to the incoming and add matching wild to the outgoing and then cross mix those to smooth the transition.
4) If you have no wild or buzz and the handles contain non wanted dialogue then there is always a 12f gap in the interview somewhere while people think, or a sentence gap etc etc wher you can nip it out, and paste it in to your transition to create the handle for a mix.

How much of this are you already doing???

Of course
5) The close attention to the eq and levels is obvious.

Let me know if this helps.

Peter

Post Production Dubbing Mixer

[Peter Groom]

HI
If the room sounded lively to your ear when there, then thats exactly what youll get. A shed is a shed.
I doubt youll have much joy improving it in post.

Its like a coffee. If you dont want sugar in it, dont put it in in the 1st place, but you cant remove the sugar once added. Only make a fresh cup.

Ty is right about the sound blankets, but be clear, he means sound blankets, not blankets.
Peter

Post Production Dubbing Mixer

[Peter Groom]

HI Bill
Can FCPX export audio as an AAF or OMF2 file to go into a sound dub yet?
Peter

Post Production Dubbing Mixer

[Peter Groom]

I didnt specify, largely as Ive heard nothing of X from any pro circles in many months so have discounted it from any pro studio opearation.
Might be wrong but thats my take.
Actually, my real take is that ADR is an audio only skill that isnt for NLEs at all – just like i dont expect a colour correction wheel to pop up in Pro Tools anytime soon…….ever.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Im pretty sure youll find what you need if you look in SFX libraries like Hollywood edge, sound ideas, Digifects etc etc.
Peter

Post Production Dubbing Mixer

[Peter Groom]

it all depends on what the original video format is.
If its apro res or something similar that youll be able to configure the export as such. You can in other nles like Avid , FCP and pro tool, but IO dont use vegas or Prem so cant help there.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Ok.
You create 3 short blips of tone and space them evenly (exactly) i go for 20 frame gaps.
Then you position this on a track and position its end where the 4th beep would have been at the precise moment that your scratch or guide track starts so the seq looks like
beep…………beep………..beep………….dial
The it rather depends on the software you are using as to if it has a loop record function. Pro tools does but you dont have that.

In the session merely play the loop so the actor feels the timing and re speaks the dial in sync with himself, but incorporating whatever the change needs to be -e more angry, frustrated, happier etc etc
Record just the mic, nothing else.
I always match the shoot mics in the studio so perhaps a sennheiser 416 and a cos 11 lav if that wasused on set. Record these as separates not mixed. That helps a LOT in getting it un distinguishable in the mix.

You’ll neeed to play the cue audio into his cans quietly so the beeps dont bleed onto the mic.

Do the line in bitesize chunks and only move on when you have sync perfect of the new recording. You can always position more beeps mid loop if there is a tricky timing gap etc.

Hope that helps.
Peter

Post Production Dubbing Mixer