Yep, we've all been there. The gain adjustments are a PITA as well. You might be grabbing too much of them - but then again, sometimes it can't be helped. good as well you got to clean up some other artifacts as well.
Just one other thing to point out - you don't want to do TOO much on the track, especially if music is involved. It may sound fine in Solo, but becomes 'detached' somewhat from the music if too much is applied via comp's, ducking, etc. Slight s's and artifacts tend to make her sound sound like 'she was there with the music'. Whereas cleaning it totally and making it pristine can make it sound like a sample loop of her voice was thrown in on the music. I know, I know - if you're with a diva bitch wanting everything perfect, it's hard to do.
One rule of thumb is to never have her or the clients there doing the 'microscopic work'. Bring them in when the voice is back in the music and say 'I've worked my ass off on this, and is good as it gets.'
If she et al say 'Sounds much better. but the voice is way to bright, and should be more rythemic with the music...' Sigh, tell them you'll see what you can do, tell them to go for a coffee or whatever - THEN try the EQ's and comp's to a certain degree. Bring them back in, and let them know the track is at it's threshold now. Hopefully then they'll say it's perfect.
Anything else, the onus is on her and management should the track flop.
"S" and "sh" problemModerators: Christophe, Mark
23 posts
• Page 2 of 2 • 1, 2
"S" and "sh" problemRun it through vocoder..
de-esser should do the trick, of course hard to say without hearing the sample itself how bad it is. Technically it is more or less EQ'd compressor to trigger on certain frequencies only. Manual work is tedious and obviously you did that to solve the problem places. I really recommend suggesting a pop filter for those people recording voices, it might not solve the problem completely, but surely makes the sound a lot better even if microphone would be poor. Some people even use old women stockings for that..
"S" and "sh" problemPop filter, and good room acoustics. Early reflections off concrete and such can really emphasise voice and instrument squelch's. A 'dead' room as best as possible. Either wallpaper with egg cartons/cardboard produce holders. Or even just arrange big cushions in a U shape around the mic can help somewhat.
"S" and "sh" problemshla Sasha po shosse i sosala sushku.
"S" and "sh" problemWell, as I mentioned, the recording has been made at the movie set using a wireless microphone... hidden in the bra;). I assume the girl responsible for the costumes wouldn't be glad if we decorated our actress' cleavage with a pop filter;).
Anyway, thanks to your advice the problem is now solved. By the way I had another problem - quite an opposite one - with that series of movies. Can you imagine that a model who looks like an aristocrat (he advertises a private banking company) may speak like a babbling wino? I had to prepare a lip-synced dubbing track. The recording was done by a professional reader in a studio. I though it would be rather simple to degrade it so it sounded like the other voice tracks. Some EQ treatments, some reverberation I thought... Well, actually it wasn't simple at all;), but after a (real!) lot of diddling I managed to obtain a satisfying effect. One thing is missing to the plenitude of happiness: I would like to have an impulse response recorded in the room where the shots were taken. It is not so faraway from home... but it's a four-star hotel... and no matter how I would try, I don't look like a guest of a four-star hotel;), not to mention being equipped with a starter's gun or a banger;). @ banda NOVA We have a Polish counterpart of this: Szed³ Sasza such± szos± susz±c szorty;).
"S" and "sh" problemInteresting stuff. So you know about lavalier mic's and movies. I might be sequestered to shoot a trailer for this action movie. My vision is to have this 'ninja girl' do the set up as a first person view (FPV). Come out of the car whatever, walk up to the camera as she's putting on her gloves and all, and start telling the audience who she is and all. The camera tracks her down this alley as she talks over her sholder about her business. Then at the end of the alley there's some dude that's 'done the organization wrong' so to speak, and she just unloads on him all this kung fu stuff till he's a pulp. Then back to the camera 'This is who I am, and this is what I do' kinda thing. I'd like to go lavalier - but then with all the costume crap worries me. Boom mic's, but then we're outdoors and/or in boomy empty warehouses.
Grappling with how to get the 'best of both worlds' mic wise still. Any suggestions?
"S" and "sh" problemWell, I don't know much - this was actually the first ad I was making soundtrack for that had live recordings instead of voiceover. It is completely irresponsible that my boss lets a complete hobbyst (by profession I am a copywriter and scriptwriter) do almost all audio editing and music stuff we have do with, but at least it doesn't cost him much:)). You wouldn't imagine how limited budgets we have to operate sometimes...
But coming back to hidden wireless mics, from my single experience I presume that their use is advisable to more static shots. Our movies were a series of testimonials: people were sitting in armchairs and talking about the magnificent, amazing, incredible etc. product we were advertising. Any stronger motion generated a lot of noise (from clothes). The Sennheiser brought by camera operator was strongly directional as well, so when we had a little convesation between the actors and they moved their heads towards each other, the sound was unpleasantly different from "talking to the camera" one. But probably it is a matter of a proper mic placement and some wrapping.
"S" and "sh" problemI hear you on all counts. I got thrown into movies because I watch a lot... And I guess bitch a lot as to what makes this so good and that so bad. My first flick I thought would be a piece of cake - a couple in a hotel room. Just go with directional mic's and voila. Hottest day, didn't even think about the AC chugging away. Then the camera idiot informs me one of the mic's has been dead all along. So real peachy quality to work with in the end.
So this time I don't want to leave anything to chance. Hidden wireless, boom's, parabolic's... And as you say, gone are the days of MGM epic budgets and all. Shure's on broomsticks, Lionel track for dolly shots, you name it. But is really amazing how these VST's and video editors can clean and stabilise sound and shots. Nice to think I might have a chance at being Kubrick... But not by having to salvage and crop things all the time. Amazing to watch 'The Making Of The Shining' - was all wireless by the looks of it? Jack really gets off showing where the transmitter is concealed. A great flick to watch and learn from be you amateur or pro. Sure it's up on YouTube or somewhere now.
23 posts
• Page 2 of 2 • 1, 2
Who is onlineUsers browsing this forum: sarausa0106 and 372 guests |
© 2017 Synapse Audio Software. All Rights Reserved. |