Hey guys and gals! Thanks so much to checking ou this great discussion between myself and Thomas Boykin. I'd like to correct a statement I made regarding Soundbyte here in Atlanta. They are not in game audio. They're a complete audio post facility with services ranging from ADR/VO to final mix.
Hey Del, Thank you so much for this great discussion. I'm a post engineer working 10 years in audio post. Did a little TV and now mostly do corporate work and TV Commercials/ads. I just wanted to say that this type of content is what I'm missing in my life. It's very difficult and limited to find quality content regarding the post world. You and Thomas both do a fantastic job and being informative and honest, which is what i love. I'm always learning from you and your content helps keep me excited to be working in this field. Keep the content coming!! Thank you!
@@delmixedit - Of coarse and thank you for the reply! It's always great to find quality post audio content by people that have been through it. Keep up the great work!
Hi Guys, Lovely to see you both talk about the industry. I am from India and work here in a studio in Mumbai. We are the most film making industry in the world. That’s why there is a huge demand for engineers here.
Thanks again for all your great answers and taking the time to respond! I have another question for you. Some dialogue editors may rely on the BG'S, SFX and music to cover up problems in the dialogue. It sounds like you are fastidious with your dialogue editing. What is your opinion on this matter? Do you get the dialogue to play flawlessly on its own or will you sometime rely on other audio elements to cover up troubled spots?
Such a great question. I do my first pass dialogue edit without the backgrounds, effects, or music. Most of the time this stuff isn’t even available yet as the team would’ve just started working on the backgrounds and sound effects at the same time as I started on the dialogue. The music is most often temp music so it’s not reliable either. The other thing to keep in mind is that at any given point a director might decide to X a music cue and then you’re stuck with just the dialogue and ambience. So knowing that it’s a possibility, I never want to rely on anything else to hold up my edit. Even if it’s noisy, as long as the noise is consistent then it still works and in the mix, one noise reduction setting will cover the scene. In my experience, no one notices the noise as much as we think they do, but they do notice when the noise changes either in tone or volume. My goal is always to make the dialogue at it as smooth as it can be on its own.
