Peter Groom
4
COW Coins
Forum Replies Created
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Welcome to the Izotope appreciation society.
PeterPost Production Dubbing Mixer
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I dont think anything (except some kind of devine intervention) is going to help that sorry audio.
It sounds like it has been data compressed to within an inch of its life – like its been skyped 3 times.
Broken.
PeterPost Production Dubbing Mixer
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Hi
Im afraid a notch filter isnt going to help.
Look at this screen grab of the problem audio
13711_screenshot.png.zipIt has a basic problem but has a lot of harmonics (12) too that can be seen as all of the horizontal lines all the way up the screen. Plus an eq will affect the audio you want to keep which isnt good either.
PeterPost Production Dubbing Mixer
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The high noise is pretty bad, and equally as objectionable is the room rumble.
Ill have a go on a bit and come back to you
PeterPost Production Dubbing Mixer
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Your client is dangerously clueless
PeterPost Production Dubbing Mixer
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If youre using non familiar kit or doing something you dont normally do, its doubly important you do these first.
1) Set up and make it all work BEFORE going to the shoot
2) At the shoot make a test recording using both mics, and playback to check you are getting what you need
3) ALWAYS wear headphones.On the zoom make sure the recording levels for each mic are adjusted independently of each other as each mic will be different.
4) Dont take off the headphones
PeterPost Production Dubbing Mixer
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Thats all down to levels, mix and eq.
Youll need to “mix” to your taste, respecting the meters.
This is 1 reason why the actual surround speakers youre using are crucial.
They need to be matched correctly, positioned correctly and set up correctly so the mix decisions youre making are correct, rather than just compensating for incorrect mixing room/space/speakers.
Theres lots of info online about speaker positioning and distances, and setup. most use a rotating white noise signal.
PeterPost Production Dubbing Mixer
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Hi again.
So the truth is that I’d never use Premiere Pro for any sound work let alone a surround mix, so I don’t know about the software process in Premeiere. I do know about the cross platform rules and processes that are consistent with any surround mix including Pro Tools which is in my studio.
Id suggest you have a watch through this tutorial to help with Premiere specific issues
https://www.youtube.com/watch?v=v-2jD1WDcysre
Oh okay, but the music is already recorded, so any instruments that are 100z, that are on there wouldn’t be able to be put on that track now, unless I am misunderstanding?Thats why i mentioned this line in my reply
“via an eq plug to stop all but the sub element.”You send all the music (if it has LF content) to the .1 and the eq filter is set to remove ALL BUT the low freq (LF) content.
1 last comment.
IFyour project is for a commercial use, ie you have a client and it is for cinema or tv use, then I strongly recommend getting a professional post house to do this for you. To get a 5.1 mix completed so it passes tech spec for broadcast is not something you will be able to do unless
1) You have specific metering
2) Your monitors are specced and positioned absolutely correctly and matched
3) You have loudness monitoring and understanding
4) Understand exactly what the deliverables are for the broadcaster and what file type exactlyIF your project is a less commercial one, then enjoy the creation and learning process and have fun.
Peter
Post Production Dubbing Mixer
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Content that is is the “sub bass area” so less than 100hz
PeterPost Production Dubbing Mixer