Rob Neidig
8
COW Coins
Forum Replies Created
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If it were me, I would load the audio file of the interview. For the purposes of this post let’s call that one “Interview”. Then “Save As” and name it “Interview ORIGINAL” or something similar. Now load back the “Interview” source file that you used in the edit. Apply the noise reduction to that file. Save it (without changing the name). Now when you go back to Premiere, all the clips that were chosen from that file will use the new version of the file. As long as you didn’t edit anything out and just applied the noise reduction, then the timing of everything will be exactly the same. If you decide you used too much noise reduction, or whatever, then you always have the “Interview ORIGINAL” file to go back to and start over.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
In addition to what Mr. Brame said, I would recommend not using dual layer DVDs at all. No matter what brand disc you use to burn, dual layer discs have compatibility issues on a lot of players. You are far better off splitting your project onto two discs. Even if you are replicating, dual layers can be an issue.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
A good make up person.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
“Save As” is your friend.
If you are working in the Multitrack area of Audition, then the files themselves aren’t being changed if you make cuts to them, or add effects, etc. Just the session file would need to be saved, as it references the files used in the session. But if you are making edits to an audio file in the “Edit” area of Audition and want to use that audio file back in Premiere with the same name as before, then yes, it’s “destructive editing” and the file itself would be changed. If you first “save as” and add maybe “ORIGINAL” to the end of the file name, then you can always go back to that one if needed.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
The function you are looking for in Audition is a Noise Gate. You set a threshold level. Any sound below that threshold and the gate stays closed, in other words the track is muted. Any sound above the threshold and the gate opens, allowing the sound to come through. You can also adjust how smoothly the gate opens and closes. It takes some tweaking to get it right without a “chattering” sound if the sound level is right at the threshold causing the gate to open and close rapidly back and forth. Like most things with audio, though, it’s hard to just pick a “set and forget” level and expect to not have to tweak it in post.
have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Malcolm,
You could always just use a splitter and send a source to two different tracks, setting the levels of one lower than the other. A simple “Y” XLR cable available from your favorite retailer would do the trick.
I agree the DR-680 is a great device. If you have a mic pre that can output SPDIF, you can also record to tracks 7&8. Note that the 680 does not play nicely with certain devices’ SPDIF outputs, though :>(
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Mark,
If I understand your post correctly, you are trying to take an existing stereo audio file and extract the different elements from it. That is not possible to do. It’s like a cake – once you have baked it you can’t get the flour, eggs, etc. back out of it. The only way to have individual layers is if you can go to whoever created the original video and see if they have the individual tracks.
Good luck!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Jonathan wrote: <>
There are pros and cons to both methods. In many ways, especially for someone with little experience with a boom, the two wireless mics would probably be best. You will need to learn how to hide them and how to minimize noise from movements, though. Then you can be back out of the way of the actors and just monitor and tweak levels of the wireless mics. Many people prefer the more natural sound of a boom mic, however. But as Bruce points out in his later post, you have a whole ‘nother set of issues there. Especially if the people are far away from one another as your first post indicates they often are. It can be very tricky to swing the boom from one person to another, then back – especially if the lines are short or overlap. And in inexperienced hands, the boom mic might not sound so great, because inexperienced boom operators often don’t get the mic in close enough to get good sound. And if you want a pretty wide shot, then there’s no way to get the boom in close enough without seeing it in frame. So the bottom line is, choosing either a boom mic (or two if you want to have both a good short shotgun and a hypercardioid mic) or wireless mics means compromising something. If you can’t buy them all now (I understand – it’s an investment!), then it’s up to you to choose where you want to compromise.
My recommendation for a good, solid audio kit:
Sound Devices mixer – either an SD302 (3 channels) or step up to the SD552 if you want a lot more (5 channels plus recorder). A used SD442 is also a great option. If you only have a mixer, buying something like the Zoom H4N to record to would be advised.
2 sets of Sennheiser G3 wireless transmitters and receivers. If you can, replace the mics that come with the sets with Sanken COS-11 mics, or Tram mics. For a big quality step-up, go to Lectrosonics wireless units.
K-tek boom pole (lots of options, your arms will thank you if you go for the higher priced, but MUCH lighter graphite ones)
Sennheiser MKH-416P48 short shotgun (still the standard, though there are other options)
Audio-Technica AT4053 hyper mic (or Audix scx-one with hyper capsule, AKG SE300 with CK93 hyper capsule, etc. Schoeps CMC641 if you want the gold standard and can afford it).
Electro-Voice RE50B handheld mic for interviews.
Breakout cable to run to camera.
Sony MDR-7506 headphones
Porta Brace bag with harness to carry the mixer, wireless receivers, etc.And of course wind protection as Bruce also mentions later down in the thread, and mic cables, etc. There’s lots more that could be added, but the above is a basic kit that would get a pro started. Not trying to overwhelm, just trying to show that there’s more to it than buying one mic.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Jonathan,
That’s just the thing, there is no ONE solution for every audio situation. Would you just superglue your zoom lens to just one place, lock down the iris and focus ring and shoot every job that way? Well audio is the same, if not even more variable. That’s why the typical pro audio person has a field mixer, a couple of wireless mic systems, a boom pole, a short shotgun and a hypercardioid mic and a pair of headphones to monitor. Not to mention maybe a long shotgun, a handheld interview mic and maybe a few others stuffed into the run bag.
Any of the mics you mention in your first post will work both indoors and outdoors. But none of them will work well if they are not close to the talent. The reason you hear people talk about “indoor” and “outdoor” mics is that interference tube shotguns typically don’t work well in indoor environments where you have lots of reflective surfaces, like a kitchen or bathroom, or a room with wood floors and wood panelling for the walls. So you normally would get better results with a hypercardioid there. You talk about scenarios where you have 4 people and too much distance to boom them all. Well, that’s where you need to maybe hide a wireless lav under their clothing (you said you don’t want to see it) and learn how to use tape and moleskin to get rid of, or at least minimize, clothes rustle. The ideal would be a combination of boom and wireless lav, booming those that are close enough and using the lav where they are not or when the shot is too wide to get a boom in close. Then you have to monitor (and possibly do a live stereo mix of) all the mic sources at once.
It sounds like you are talking about being a one-person crew. If that is the case, then good luck – good audio is just not going to happen by itself. Not putting anybody down, it’s just that good audio takes talent and attention and more than one mic.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Camille,
EQ is shorthand for “equalization”. That means adding or subtracting various frequencies to get your audio to sound its best. The simplest form of EQ is what you may have seen (or heard) on your home stereo (not many of those around anymore) or your car stereo system. They usually have a “Bass” and “Treble” control. Adobe Audition, and pretty much any audio editing software, just expands on that and allows you to not just choose a generic bass or treble, but gives the choice of multiple bands of frequencies to raise or lower to change the sound of your audio.
OK, with all of that said, how does your audio currently sound? For someone to say “…that one has to do an EQ to an audiobook” is ridiculous. It might need it, it might not. Only your ears can tell you that. In Audition, EQ is under “Effects”, then “Filter and EQ”, then choose “Graphic Equalizer”. There are choices for 10, 20, or 30 bands. Small changes (no more than maybe 3db in any band) are best. If you really need to make larger changes than that, then there is something seriously wrong with how it’s being recorded in the first place. Since you can always “Undo”, or just not save your results, I suggest applying a 30-band EQ to your file, then playing it back while moving each band of the equalizer up and down to hear how it affects your audio. That’s the best way to get familiar with it.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon