[Peter Groom]

Hi

Technically – yes its perfectly possibe, but how good it sounds will really depend on the phrasing, how high he goes, and how complete the word is your cutting out on.
In reality, as youre working in a different language to your own, its an added complication as you may well not be able to tell how it really sounds in the wrong language. Id not fancy doing it to a spanish voice as I dont speak spanish etc etc.

Why dont you upload the FULL line (with a note where you want it cutting out on and let us have a go for you? Could be fun. Also include everything he says, used or unused as Ill often steal a part sound form a different word to make a sound and this might exist elsewhere.

What platform are you running on (ie what tools do you have?
Peter

Post Production Dubbing Mixer

[Peter Groom]

yep the demo was impressive.
any others?
peter

Post Production Dubbing Mixer

[Peter Groom]

WE dont have countryman in the uk but is it really a voice recording mic. a headset sounds “small” and therefore not very rounded.
Id not put blankets over your head as the sound will be too close and dead. a nice vo needs a little air in it…..a little.
I thing the fan on the laptop will be too noise. kick it out of the room.
Peter

Post Production Dubbing Mixer

[Peter Groom]

so do i not need to uninstall avid before installing pt 9.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Agreed Eric.
I also try to have a clear picture in my mind exactly which audience programme is aimed at and its style, when setting up balances.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Id only want that as a last resort personally. itll be mixed and eq’d for the performance space, not the recording needs, and the levels will be far from the biggest concern of the house mixer.
Not my pref. id want ALL parameters to be mine until the mix
Peter

Post Production Dubbing Mixer

[Peter Groom]

Yes that would not be a bad solution.

Would you rather use the internal pickup of the acoustic (or does it even have 1) and are you sure a lav is best mic choice for the guitar or vocals. You might get a lot of PA spill on a lav.
I think id consider a second recorder to give a choice between mic and pickup on the guitar , and then have a good vocal mic (maybe a split of the pa’s mic if its good)
If only 1 recorder then id still prefer a vocal mic and then its just a choice between pick up or mic.
Peter

Post Production Dubbing Mixer

[Peter Groom]

To comment on the loudness issue you mentioned.

Id not confuse mixing for hearing impaired people as necessarily the way to make a mix acceptable within the loudness metering spectrum. This is a fairly new concept and the rules are only just being settled on.

Soon we will need to mix tv to a loudness spec for delivery here in the uk but at this moment the broadcaster bears the responsibility for transmitting at a consistent loudness to the viewer.
Thers a lot more than bg noise mixing level in a loudness metering question. its about dynamics, compresion (or lack of it) eq, pace of delivery and stridency and basically, how loud we perceive something to be rather than what a PPM meter says it is.

Personally I dont mix everything as if it were to be heard by a hearing impaired person. But I do listen to tv mixes on a variety of speaker sizes and types to ensure that all mediums re create my mix how id like it to be heard.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Speaking with my Post production Dubbing Mixer / re recording mixer hat on.

It is the job of the field recording team to me a correct audio recording (ie at correct levels). Not so hot as to create distortion at any stage (front end, input electronics or recording specs) and not too soft so as to create a signal to noise ratio problem.

It is NOT the job of the field recordist to attempt to interpret how that audio will be used subsequently. No filters, no mixing, no creative input. That will or will not come in the mix.

Think of it like this. if you put sugar and milk in a cup of tea (or make a recording with an adjustment to it) you cannot then remove the sugar. Only make a new cup of tea as the 1st is undrinkable. But when you serve the tea, you can deliver sugar to taste.

As an added note. Sound recordists should deliver the audio as split tracks wherever possible (NB It sint always but wherever poss). Once you have mixed say dialogue personal mics with boom mic you have fundementally changed the sound and it cant be un picked in the mix. However delivered as seps, the mixer can use 1 or the other or both to best match within ALL the other tracks he has playing (which could be hundreds). A field mixer can never know what that mix will be.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
Its a while since I had to do this so Im going to hesitate before saying too much. I think that JC may be better placed to comment as he has knowklege in this area.
what i will sayis

1) look at this link. It will give you the lowdown and accurate figures for pull up and pull down. https://www.ptdudes.com/2009/05/18/audio-pull-updown/

2) Id only consider Pro tools for this task.
3) Id not think FCP is good to have in the loop either.
4) Id steongly suggest you take this taksk to a post house with specific regular experience of the territory. It si a minefield and the blame will come back on you when the losses mount!

Peter

Post Production Dubbing Mixer